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BRYAN'S DICTIONARY

PAINTERS AND ENGRAVERS

IN FIVE VOLUMES

G. BELL AND SONS, LTD.

LONDON : PORTUGAL ST. LINCOLN'S INN
CAMBRIDGB: DEIGHTON, BELL & CO.
NEW YORK: THB MACMILLAN CO.
BOMBAY: A. H. WHEELER & CO.

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BRYAN'S DICTIONARY

PAINTERS AND ENGRAVERS

NEW EDITION REVISED AND ENLARGED

UNDER THE SUPERVISION OF

GEORGE C. WILLIAMSON, Litt. D.

WITH NUMEROUS ILLUSTRATIONS
VOLUME V. S-Z

LONDON

G. BELL AND SONS, LTD.
1919

T^,^/^^1l',Z.»£ /Li^«M*^

^"r9

First published, 2 vols. 4to, iSl6
Second edition, revised by J. Stanley, I vol. 8vo, 1849
Supplement hy B. Ottley, 1876

2 hird edition, revised by Robert Edmund Graves and
Sir Walter Armstrong, 2 vols. 8vo, 1S84 — 18S9
Misprinted 1S94, 1S99, 1901-2
Fourth edition, revised by G. C. Willia>?ison, Litt.D.,

5 vols., 1903-4. Vol. V. reprinted 1910, 1915,

and 1 9 19.

NOTE TO VOL. V

The most notable article in this Volume is that on Titian by Mr. Herbert Cook.^
Early in importance after this come those relating to four eminent artists who have
recently died — Watts, by his old friend, Mr. M. H. Spielmann ; Whistler, by his
recent biographer, Jlr. G. R. Dennis; Vereshchagin, by Mr. H. Rajanent; and
Frederick Sandys, by the Editor. In each of these cases, but especially with regard
to Whistler, an effort has been made to give the very fullest possible account of
the artist and his v.-orks that the limits of such a dictionary as this permit. The
list of Whistler's etchings is by far the most complete that has yet appeared.

There is an unusually large number of biogxaphies in the volume relating
to old Italian masters whose lives in recent years have been reconstructed, and
whose works have received fresh and informing attention.

In this series the contributions made by Miss Olcott as to Alvise, Bartolommeo,
and Antonio Vivarini are of the first importance, and hardly second to them come
the articles from the pen of Mr. R. H. Hobart Gust on the three artists of the
Semino family ; the three of the Salimbeni ; the three of the Tiepolo family ; the
Tressini; the two artists named Spanzotto, and Pier F. Sacchi. Miss Olcott has
also written the article on Cosimo Tura, and those on the two Vanni, Lippo and
Andrea.

The two Signorelli have been entrusted to Miss Maud Cruttwell, who has long
made a special study of these painters, while Mr. Langton Douglas has dealt with
that mysterious personality whose greatness has so recently come to light, the
Sienese artist Sassetta. Solario, Salaino, and two very little-known men, Sebastiani
and Trino, have fallen to the share of another member of the Gust family, Mrs.
Wherry, and all that could be told respecting them she has set forth.

It has been a particular pleasure to enlist in the service of the Dictionary the
eminent scholar, Herr Paul Kristeller, and the irajDortant article on Squarcione from
his pen sets to rest, finally, it is hoped, some of the vain imaginings that have
been current as to this so-called founder of a school.

Other Italian artists who have been treated afresh in the light of new discoveries
are Sassoferrato, Bramantino, Savoldo, Tisio, Torbido, Varotari, and Vasari, who have
been described by Mr. Briuton ; Leonardo da Vinci, who has been taken in hand

• The article on Titian was, by an oversight, mentioned in the Note to Vol. IV., where another
article written by Mr. H. Cook, that on Previtali, appeared.

Ti NOTE TO VOL. V.

by Mr. McCurdy, Leonardo's most recent biographer ; Spinelli and Turchi, who
have been treated of by Mr. Strutt, the writer of the book on Lippo Lippi ; the
three Vecelli and Vavassori, who have received most careful attention from Miss
Jourdain ; and Perugino, who, as a matter of course, has fallen to the share of
the Editor.

In the German School there are some notable articles, especially those from
the pen of Mr. Campbell Dodgson oa Schongauer, Schou, the three artists of the
name of Traut, M. Wolgemut, and the two of the name of Weiditz ; while Miss
Constance Jocclyn Ffoulkes has reviewed a long list of the more unusual and
difficult of the little-known German and Italian artists; writing articles upon
Schiilein, Van Schwaz, Scotti, the two Seregno, the Master of Sigmaringen, De
Soye, Van Staren, Stefano de' Fedeli, Strigel, Theodorich of Prague, J. Thiifel,
Tommaso da Modena, the two artists of the Da Vaprio family, D. J. Vellert, F. de
Vico, G. Visniara, Hans Weiditz, the two Weinschroters, the Master of Werden,
Olmutz von Wenzel, Conrad Witz, A. and J. Woensam von Worms, N. Wurmser,
Zavattari, and P. and M. Zoppo.

The veteran writer, Mr. Weale, who from the very first has had charge of the
section dealing with the old Flemish and Dutch artists, has contributed an
unusually large number of articles to this volume, writing those on Saftleven, Saive,
Sanders, Scorel, Snellaert, P. and H. Steenwijck, the three Stoeveres, Susenier,
Taulier, Teylingen, Tieffental, Tillemanns, Tol, Uute Wael, Van de Capelle, A^'an der
Goes, Van der Hagen, Van dcr Leepe, the five Van der Meeres, the three Van der
Neers, Van der Pluym, Van der Veen, the three Van der Weydens, Van der Woestine,
Van't Woudt, Van Voorst, Van Vucht, Van Wytevelde, Verbuys, Verwilt, De Vigilia,
the two Volmaryns, Vrelant, J. Van Wijckersloot, F. Walschartz, C. Witz, Zegelaar,
Zutmann, and Zyl. He has also sent in many small corrections of dates and lists
of pictures, acquired during his unceasing researches into the history of Flemish
Art.

Of the more strictly-called Dutch School the chief article is a very important
one from Mr. Frank Hinder on Vermeer, containing the result of all past investiga-
tion, and correcting the errors hitherto adopted as to this wonderful painter ; while
of hardly less importance are the articles from the hand of Dr. Martin of the Ha;jue,
dealing with Jan Steen, the four artists named Teniers, Ter Borch, and Terbruggen.
Mr. Staley has contributed the article on Trocst.

Another article that deserves attention, especially as it is one of the few
contributed by American scholars, is the one on Van Audenaerde, written by Dr.
H. Hochheimer.

The baft'ing Cretan who settled in Spain and became known as El Greco is the
subject of a long article by Mrs. Jack Henuiker-Heaton, who has translated a recent
work on that artist written in Spanish by the leading artistic scholar of Spain,
Senor Don M. B. Cossio ; while the head of the Spanish School, the great Velazquez,
has fallen to the care of Sir Walter Armstrong, who has pruned and brought up
to date the notice he contributed to an earlier edition of the Dictionary.

In the French School the lives of Troyon and of J. A., F. L. J., and L. J.
Watteau are the work of Mr. Staley.

NOTE TO VOL. V. vii

Of modem Italian artists the one deserving most attention is Segantini, and
his biography has been written by Mr. Arthur G. Bell, who had the advantage of
personal knowledge of that gifted man.

In the Russian School mention has already been made of Vereshchagin, but the
assistance of Mr. Cazalet, President of the Anglo-Russian Society, must not be over-
looked in some corrections made by him, and especially with regard to the memoir of
P. A. Sviedomski which he has contributed. That of Tatkeleff' is the work of the
Editor, who has contributed several other memoirs of Russian artists.

American artists have not been overlooked, and the names of H. Sargent, W.
Sartain, James Sharpies, R. Sharpies, H. Stone, W. O. Stone, A. W. Thompson,
Edwin L. Weeks, R. W. Weir, S. L. Wenban, A. Wright, and E. A. Willis represent
this rapidly-growing body of workers.

Turning now to the English artists, it should be mentioned that, as before, Mr.
Dibdin has contributed the stories of the Liverpool painters, including George
Stubbs, Tonge, the two Townes, John and J. C. Turmeau, Walker, Wallis, Richard
Wane, and the various painters of the Williamson family, while the life of another
Stubbs, J. H. P., has been written by his lineal descendant, Mr. H. Stubbs. Four
other cases in which the assistance of lineal descendants has been secured, are those
of the immortal Turner, where the information as to the family of the artist has
been sent in by Mr. C. M. W. Turner, the memoir of Robert Kent Thomas, which
has been carefully prepared by his daughter, Mrs. Ewen, while in the case of the
brothers Alfred and Henry Tidey, the narratives have been compiled by their niece,
Miss Lovering, and Miss Wallis and Mr. G. H. Wallis have contributed the life of
•George Wallis.

Many of the Scotsmen who have lately passed away have come to the share of
Dr. Laing, of Dundee, who has prepared biographies of W. Bell Scott, John Smart,
Robert Thorburn, James A. Walker, John Wallace, Robert Bruce Wallace, John
Watson, J. D. Watson, J. W. Whymper, and W. J. Yule, as well as taking his part in
■writing upon some of the smaller English and foreign artists who might otherwise
have been overlooked, such as Saftleven, Salmon, Salmson, Saunier, Sayers, Schaar-
schmidt, Schlesinger, Slocombe, Sorokin, Stanton, Steenwijck, Stuckelberg, Sundberg,
Surat, Tourrier, De Tours, Unger, Yallance, M. L. Vermeer, Vidal, Wattier, H.
Wilhelm, Yon, W. J. Yule, and Zalisker.

F. W. Topham and Wimperis have been the work of Mr. Henry Walker, who
has also contributed a long fresh account of Ziegler from special sources hitherto
untouched.

Wi-ight of Derby and J. R. Wilson have been treated of by Mr. W. Roberts, the
biographer of Romney ; Gleeson White, the well-beloved designer, has been contributed
by his friend Mr. Dennis ; Viscountess Templetown has been the subject of a notice
from Mrs. Erskiue, to which Mr. Campbell Dodgson has added some special informa-
tion; Alfred Stevens is the subject of an inspiring article from the pen of Mr. Layard;
Tissot has been contributed by Mrs. Arthur Bell; George Wilson by his recent
biographer, Mr. J. Bnillie ; Smetham and Lewis Wingfield by the Editor ; and Stott
of Oldham and H. T. Wells have been supplied by Mr. Malcolm Bell, who is the
•»uthor also of an excellent account of Daniel Yierge.

viii NOTE TO VOL. V.

Turner has received attention from three separate authors ; Mr Algernon Graves,
whose knowledge of the pictures is unrivalled, having gone through the article with
great care and made many additions and alterations, while Mr. C. M. W. Turner,
already mentioned, has contributed the family section, and another writer some
criticism.

There are yet very many of the English artists to be mentioned.

The medallists have not been overlooked, as their fine drawings are worthy of
notice, and the volume contains notices of eight members of the eminent family of
Wyon, as well as references to other leading men in the same profession, such as
Tanner, Simon and Snelling. A few architects have been hitherto overlooked, and had
to be referred to on account of their work in water-colour or oil ; such men as Sir
G. G. Scott, J. D. Sodding, Smirke and Sir John Soane appearing in this volume ;
while the writers who practised art, such as G. A. Sala, Sir George Scharf, Challoner
Smith, and R. H. Soden Suiitb, and the collectors, as John Sheepshanks, have also
received notice.

Amongst the miniaturists the accounts of Scouler and John Smart call for special
attention, while amongst English artists not hitherto properly treated, and of some-
what lesser moment, it may be v.'ell to direct the reader to the memoirs of such men
as William Simpson, and the Varleys, the work of Mr. Martin Hardie, who has
also contributed many other articles, including those on C. K. Sharpe, J. Sibmacher,
T. Sibson, A. Sisley, George Smith, W. B. Smith, W. C. Smith, G. Steell, James
Stephenson, J. E. Stevens, A. and L. Stocks, F. Tayler, and H. J. Townsend, and also
to the notices of the various artists of the Strutt family, of the Sharpies family,
of J. Woltl" the animal painter, John Syer, Elijah Walton, and others.

The rank and file constitute a very long list, far longer than in the preceding
volumes, and the following names may be mentioned : —

J. Saddler, John W. Saddler, Camille Saglio, G. H. Sagstiitter, H. Sagstatter, J. E.
Saintin, — Salisbury, B. N. Salm, L. A. Salmon, H. F. Salmson, G. Saloman, Anthony
Salvin, John Sanders, J. A. Sanders, Francis Sandford, H. Sandreuter, F. Sangainetti,
F. Sargent, John Sartain, E. Sartori, J. F. Sartorius, J. N. Sartorius, H. Sass, A.
Sauerweid, Noel Saunier, George Saunders, P. E. Sautai, J. L. du Sautoy, — Savill,

F. R. Say, E. J. Schaller, E. de Schampheleer, W. Schaw, A. F. A. Scheuck, H.
Scherenburg, K. J. N. Scheuren, F. A. H. Schielvelbeine, E. J. Schindler, G. Schirmer,
Ivan Schischkin, A. Schleich, E. Schleich, F. Schmalzigang, M. Schmidt, P. Schobelt,
A. Schoenn, Otto Scholderer, C. von Schraudolph, A. Schreyer, W. H. Schroeder,

G. E. Schuback, F. A. Schubert, E. Schultz-Bricsen, L. F. Schlitzenberger, T. S.
Schurawlew, C. Schweicli, A. Schwendy, Baron von Schwiter, J. J. Scoles, G. G. Scott,
A. Sege, G. Seidel, A. Seifert, A. Seitz, C. Sell, L. Sellmayr, H. C. Selous, G. Semper,
L. P. Sergent, Sarah Setchell, G. P. Seurat, J. M. Sevestre, Charlotte Sharpe, Mary
Anne Sharpe, F. Sharpies, James Sharpies, junr., George Sheffield, T. H. Shepherd,
W. Sheppard, Chas. Sherwin, F. S. Shuranlew, S. Sidley, A. Siegert, H. Siemiradski,
E. Signol, P. C. Simart, W. H. Simmons, N. Simonsen, F. J. Skill, J. Skippe, E.
Shngeneijer, Sydney Smirke, J. R. Smith, S. C. Smith, Frauz Sodar, J. P. Sodermark,
C. F. Soerensen, P. P. Sokolow, H. Sondermann, G. A. Spangenberg, L. Spangenberg,
C. Springer, F. G. Ssolnzeff, A. Stabli, J. P. Stafford, A. Staunard, A. G. Stannard,

NOTE TO VOL V. ix

Karl Stauffer, K. K. H. Steffeck, M. Steiula, Jas. Stephanotf, F. M. F. Storelli, Thos.
StreatfielJ, Ja?. Stuart, L. Stiirtz, N. Y. Svertschkof, Chas. Swaine, S. D. Swarbreck
James R. Swinton, E. SwoboJa, John Syme, A. C. L. Tacke, A. Tahy, W. H. F.Talbot
L. Tancini, James Tassie, W. Tassie, George Tattersall, John Taylor, Peter Taylor, C.
Teja, E. Tenner, F. Tej a, E. Tepper, L. Tcrrazzi, H. J. Terry, E. Teschendorf, E.
Tetzner, M. Than, W. Theed, E. R Thirion, C. A. E. Thomas, John Thomas, W. L.
Thomas, Jacob Thompson, James Thomson, S. A. Thon, O. von Thoren, J. Till, L. C.
Timbal, James Timbrell, J. J. J. Tissot, H. G. Todd, M. Todt, V. Tojetti, A. Toulmouche,
H. Toutin, J. Toutin, Carl L. Tragardh, J. M. von Trenkwald, W. H. Trood, P. D.
Trouillebert, G. S. Truesdell, K. A. Trutowsky, Charles P. Tschaggeny, J. B. Tiittine,
R. S. Tyrwhitt, J. W. Upham, S. Ussi, P. Vaini, Jules E. Valadon, J. Valeutiuy, T.
Val^rio, H. Valkenburg, G. Vanaise, J. van Bree, J. H. F. van Lerius, S. Vannutelli,
P. A. Varin, M. L. B. Vautier, A. Veillon, C. L. Verboeckhoven, E. J. Verboecklioven,
J. L. J. Verdier, E. Verdyen, J. Verhaz, M. C. Verlat, J. B. Vermay, A. J. Verw^e, J. G.
Vibert, C. L. Vielcazal, T. Viero, F. Vinea, H. F. Vion, T. de Viva, F. Vizetelly, H.
Vizetelly, W. Vogels, A. C. Voillemot, A. Vollon, A. J. J. Vollweider, J. F. Voltz, W.
Volz, A. de Vriendt, J. A. Vrolyk, Jan M. Vrolyk, E. L. Wagrez, G. Walckiers, Henry
Wallis, Jame.5 Ward, Isaac Ware, J. B. Waring, Robert Warthmliller, R. F. Wassmann,
Jas. Wathen, M. L. Watson, W. H. Watts, Charles M. Webb, A. Wegelin, J. F. W.
Wegener, K. G. Wegener, C. Weigand, J. G. Weinhold, L. Weisser, E. Welker, T. L.
Weller, M. Welter, G. Wertheimer, F. Westin, K. Weysser, George Whitaker, J. W.
Whittaker, N. Whittock, J. J. G. van Wicheren, F. Wichert, W. Widgery, F.
Wieschebrink, H. G. Wieschebrink, H. Wilhelm, B. Wilkes, A. von WiUe, T.
Willement, T. Williams, Cfesar Willich, E. A. Willis, W. G. Wills, C. H. Wilson,
M. E. Winge, F. W. von Winterfeklt, H. Wislicenus, 0. Wisniewski, E. S. Witkamp,
J. P. Wittkamp, J. M. Wittmer, A. E. van Woerndle, M. A. Wolff, A. Wolfl, B. Woltze,
A. Wonseidler, L. J. Wood, W. F. Woodington, Thos. Woolner, Jos. Wright, Wm.
Wyld, R. Yeo, E. F. You, J. M. Youngman, A. Yvon, M. Zaliski, E. K. G.
Zimmermann, F. Zimmerrnann, J. B. A. Zo, F. Zuberbiihler.

In all there are nearly six hundred new biographies in this Volume, and over
three thousand corrections have been made on the last edition.

The Editor would like to add a word in explanation of the fact (frequently
commented upon by the reviewers) that considerable space has been given in all the
volumes to modem men, especially those who have recently died. His reason for this
is that the information is specially required when these artists are being constantly
referred to and their works being collected, and the information is not readily
obtainable outside the Dictionary without the examination of many books. He is
aware that the space given to modern men is often disproportionate, but it is, if an
error, an intentional one, and made in order to render the Dictionary the best modern
work of reference. It is necessary also to state once more that the work does not
deal with living artists.

In conclusion, the Editor takes this opportunity of thanking all his contributors
for what they have so kindly done for him, and tlie reviewers for the considerate
way in which they have received and reviewed the various volumes. His thanks are
also due to very many owners of pictures who have allowed the works in their

s NOTE TO VOL V.

popsession to be described and often photographed for use in this work ; and, lastly,
he would thank all those critics who with much courtesy have written to him pointing
out various errors and suggesting additions and improvements.

It was at one time thought that a supplement might be added to this final volume
containing notices of the painters — unfortunately a considerable number — who have
passed away while the book has been in the press, as well as certain memoirs omitted
in previous volumes. The volume has, however, run out to so great a length, that
this is out of the question. The Editor, therefore, can only express the hope that
when sufficient material shall have accumulated, he may be privileged to issue a
supplementary volume, and with this object in view he will always be grateful for
the assistance of his numerous readers, and begs them to be good enough to
communicate with him (to the care of the publishers) as to any omissions or errors
that they may at any time discover, or any special information they may be able to
impart.

NOTICE

As confusion frequently arises iu the alphabetical arrangement of biographical dic-
tionaries owing to the arbitrary mode in which it has been customary to deal with such
names as are preceded by an article or a preposition, or by both, it has been thought
desirable in this work to adopt the grammatical principle sanctioned by the Belgian
Academy in regaid to the names of Flemish and French (or Walloon) origin, which
are included in the ' Biographic Rationale.'

The arrangement therefore is according to the following plan :

I. Every artist having a surname is placed under that surname, cross-references being
given from assumed names and sobriquets whenever needed.

Thus, Correggio is entered under AUegri, Antonio.

rintiiricchio ,, Biagio, Bernardino.

Sehaitiano del Piomho „ Luciani, Sehasiiano.

Tintoi'etio „ Jiobusti, Jacopo.

{a) When the preSx to a name is an article it remains annexed, because it is an integral
part of the name ; but when it is a preposition, it is disunited, because it indicates the place
of origin or birth of the artist, or a teiritorial or seigneurial name. Thus, the French Le
and La, and the equivalent Dutch and Flemish De are retained ; while the French d^, the
Italian da and di, the German von, and the Dutch and Flemish van are rejected.

Thus, Charles Le Brun

is entered under

Le Brun.

Jan David De Ileem

De Heem.

Jean Francois de Troy

»»

Troy.

Ileinrich Maria von Hess

Hess.

Isack van Ostade

Ostade.

(6)' When the prefix is an article joined to or preceded by a preposition, as in the French
dii, de la, and des, the Italian del, della, degli, dai, dagli, and dalle, the Spanish del and dt
la, and the Dutch van der, van de, van den, and ver (a contraction for van der), it cannot be
disunited from the proper name, because the particles together represent the genitive case
of the article.

Thus, Alphonse du Fresnoy is entered under Du Fresnoy.

Laurent de La Hire „ De La Hire.

Niccolo deW Abbate „ DeW Ablate.

Girolamo dai Libri „ Dai Libri.

WUlem van de Velde „ Van de Velde.

xii NOTICE.

Thus, Peter Be Wtnt is entered under De Wint.

(d) Proper names with the prefix Si. are placed as though the word Saint were written
in full : and similarly, M' and Mc are arranged as Mac.

(e) Foreign compound names are arranged under the first name.

Thus, Bcqjfiste Auhry-Lecomte is entered under Aubri/-Lecom.te.

Juan Cano de Arevalo ,, Cano de Arevalo.

II. An artist having no surname is placed under the name of the place from which he
is known, or failing that, under his own Christian name

Thus, Andrea da Bologna is entered under Bologna.

Andrea del Sarto ,, Andrea.

Fra Bartoloimneo „ Bartolommeo.

III. Anonymous artists known as the Master of the Crab, the Master of tlie Die, the
Master of the Rat-Trap, will be found under the common title of Master.

CONTRIBUTORS OF INITIALED ARTICLES.

>• •

...

• ••

■ .*

...

H. C. ...

...

Ff.

...

. M

. H.

...

S. H. ...

...

W. L. ...

Sir "Walter Armstrong.

J. Baillie.

A. Lys Baldry.

A. G. Bell.

Clara Bell.

Malcolm Bell.

Lawrence Binyon.

Selwyn Brinton.

Julia Cartwright (Mrs. Ady).

J. L. Caw.

E. A. Cazalet.

Arthur B. Chamberlain.

Herbert Cook.

Maud CruttweU.

Lionel Cust.

R. H. Ilobart Cust.

Rev. G. S. Davies.

G. R. Dennis.

E. R. Dibdin.

Campbell Dodgson.

Langton Douglas.

0. J. DuUea.

Beatrice Erskine.

Jessie Ewen.

Constance J. Ffoulkes.

Roger E. Fry.

Algernon Graves.

Robert Edmund Graves.

Geoi'g Gronau.

Martin Ilardie.

Frederic Harrison.

Mary M. Heaton.

Sermonda Henniker- Heaton.

H. Hochheimer.

J. B. Stoughton Holborn.

Charles Holroyd.

M. Jourdain.

Paul Ki-isteller.

J. H. W. Laing.

CONTRIBUTORS OF INITIALED ARTICLES.

G. S. L. ... ... ... ... G. S. Layard.

M. L. ... ... ... Mary Logan (Mrs. Berenson).

I. L. ... ... ... ... Ida Lovering.

E. McC. ... ... ... ... E. McCurdy.

H. C. M. ... ... ... ... H. C. Marillier.

W. M. ... ... ... ... W. Martin.

D. R. M. ... ... ... ... Dora R. Meyrick.

L. O. ... ... ... ... Lucy Olcott.

E. J. O. ... ... ... ... E. J. Oldmeadow.

A. O'R. ... ... ... ... Agnes O'Reilly.

F. M. P. ... ... ... ... F. M. Perkins.

P. P. ... ... ... ... Percy Pinkerton.

A. H. P. ... ... ... ... A. H. Pollen.

S. P. P. ... ... ... ... S. Pugin PoweU.

H. R. ... ... ... ... H. Rayment.

C. E. ... ... ... ... Corrado Ricci.

R. R. ... ... ... ... Ralph Richardson.

J. P. R. ... ... ... ... J. P. Richter.

F. R. ... ... ... ... Frank Rinder.

W. R. ... ... ... ... W. Roberts.

E. R. ... ... ... ... Emily Robertson.

W. B. S. ... ... ... ... William BeU Scott.

F. S. ... ... ... ... Florence Simmonda,

H. C. S. ... ... ... ... H. Clifford Smith.

E. S. ... ... ... ... E. Staley.

E. S. ... ... ... ... Elliot Stock.

E. C. S. ... ... ... ... K C. Strutt.

H. S. ... ... ... ... H. Stubbs.

C. M. W. T. ... ... ... ... C. M. W. Turner.

H. W. ... ... ... ... Henry Walker.

G. H. W. ... ... ... ... 0. H. Wallis.

W. H. J. W. ... ... ... ... W. H. James Weale.

A. W. ... ... ... ... Albinia Wherry.

A. W. ... ... .. ... Alfred Whitman,

F. W. W. ... ... ... ... Frederic W. Wbyte.

G. C. W. ... ... ... ... George C. Williamsoa,

LIST OF ILLUSTRATIONS

LEONARDO DA VINCI

MoNA Lisa Louvre Frontispiece

PIER FRANCESCO SACCHI

St. George and tub Dragon .... Chiesa dei Frate Levanto To face p. 2

GIOVANNI BATTISTA SALVI, called XL SASSOFERRATO

PORIRAIT OF THE ARTIST Uffizi OcUlery, Florence „ 12

Madonna del Rosario Sta. Sabina, Borne „ 12

GIROLAMO DA SANTA CROCE

The Martyrdom of St. Sebastian Berlin Gallery „ 20

Two Saints National Gallery „ 20

GIOVANNI SANTI

The Madonna and Child with Saints Berlin Gallery „ 22

Madonna and Child National Gallery ,, 22

GIOVANNI GIROLAMO SAVOLDO

The Venfjian Berlin Gallery „ 26

The Adoration of the Shepherds National Gallery „ 26

WILLIAM SAY

QnEEN Caroline (From the Mezzotint) „ 28

,ARY SCHEFFER

St. Augustine and St. Monica National Gallery „ 34

MARTIN SCIIONGAUER

The Virgin in a Garden of Roses (Photogravure Plate) St. Martin's Church,

Colmar „ 46

JOHN VAN SCOREL

Portrait of Cornelis Aern'isz van der Dussen . . . Berlin Gallery „ 56

WILLIAM BELL SCOTT

The Eve of the Deluge „ 58

LAZARO BASTIANUS, called SEBASTIANI

Madonna a.nd Child . . . Collection of Father O'Connor, KeigUey „ 60

ludwig von SIEGEN

Amelia Elizabeth, Landgravine of Hesse. 1642 » 78

LUCA SIGNORELLI

Saints Berlin Gallery „ 80

PoRTRAi'is op Sionorelli AND Fra Angelico . . . Cathedral, Orvieto „ 80

JOHN RAPHAEL SMITH

Tayadaneega, Chief of the Mohawks. 1779 (From the Mezzotint) . , „ 94

FEANZ SNYDERS

The Cock-Fight Berlin Gallery „ 96

xvi LIST OF ILLUSTBATION&

ANDREA SOLARIO

Crristoforo Longono Nationcd Gallery To face p. 98

The Redeemer > Brera Gallery, Milari „ 100

FBANCESCO SQUARCIONE

The Madonna and Child Berlin Gallery „ 112

W. CLARKSON STANFIELD

A Market Boat on the Scheldt South Kensington „ 114

Entrance to the Zdyder Zee, Texel Island , . National Gallery „ 114

Town and Castle of Ischia South Kensington „ 114

JAMES STARK

The Valley of the Yare near Norwich . . . National Gallery „ 116

JAN STEEN

The Quack Doctor Amsterdam Gallery „ 118

AMBEOGIO STEFANO DA FOSSANO, called BORGOGNONE

Marriage of St. Catherine of Alexandria . . . National Gallery „ 120

THOMAS STOTHARD

A Greek Vintage — A Dance in the Vineyard . . National Gallery „ 132

JAMES STUBBS

The First of September {From the Engraving) „ 140

DAVID TENIERS (the youngpr)

Kermesse at Halbmond Dresden Gallery „ 168

An Aged Woman Anticerp Gallery „ 158

The Chateau of Teniers at Peiick .... National Gallery „ 160

Fete adx Chaudrons . National Gallery „ 160

GERARD TER BORCH

Portrait of a Gentleman National Gallery „ 162

Fatherly Advice Berlin Gallery „ 162

DOMEXICO THEOTOCOPULI, called EL GRECO

View and Plan of Toledo Museum, Toledo „ 164

The Burial of the Count of Orqaz . . . Santo Tom^, Toledo „ 166

ALFRED TIDEY

The Artist's S jn . . . Collection of the exors. of Mrs. Tidey „ 178

Ranulp and Stratford Tollemache, Children of Lord Tollemache.

(R.A. 1869.) ..... Collection of Dowager Lady Tollemache „ 178

HENRY TIDEY

Christ Blessing Little Children . Collection of the exors. of Mrs. Fuller „ 178

GIOVANNI BATTISTA TIEPOLO

Antony and Cleopatra Palazzo Labbia, Venice „ 180

BENVENUTO DA GAROFALO TISIO, called GAROFALO

Jupiter and Io Berlin Gallery „ 184

TITIAN

Bacchus and Ariadne (Photogravure Plate) . . . National Gallery „ 186

The Old Cornato Althorp Collection „ 188

The Assumption Accademia, Venice „ 190

FRANCESCO DA TRINO, or PIER FRANCESCO GUALA

Baptism OF Christ. 1723 . . . Collect ion of Mr. G. TV. Brown „ 204

The Guardian Angel Collection of Signor F. Negri „ 204

CORNELIS TROOST

Scene from a Dutch Comedy The Hague Gallery „ 206

CONSTANT TROYON

Landscape with Cows Glasgow Gallery „ 208

Oxen going to Plough Louvre „ 208

COSIMO TUliA

The Madonna and Child with Saints . . . Berlin Gallery „ 210

LIST OF ILLUSTRATIONS. x™

J. M. W. TURNER

The Fightinq TiMfiRAiRE (Photogravure Plate) . . Natiowi Gallery To face p. 212

Venice South Kensington „ 214

Chichesteb Canal National Gailery „ 216

DON JUAN DE VALDES-LEAL

The Assdmption of the Madonna National Gallery „ 226

HUGH VAN DER GOES

The Pobtinari Altab-Piece Uffizi Gallery, Florence „ 242

A Canon with St. Victob (or St. Maitbice) {Photogravure Plate)

Glasgow Gallery „ 242

AERT VAN DER NEER

Landscape with Figures — A Canal Scene, Holland . Natumal Chxllery „ 248

PIETER VAN DER PLAS (or PLAES)

PORTBAIT CALLED JoHN MiLTON . . . National Portrait Gallery „ 250

ADRIAAN VAN DER WEKFF

The Departure of Haqar Dresden Gallery „ 252

ROGIER VAN DER WEYDEN

The Joys and Sorrows of the Virgin Berlin Gallery „ 254

The Seven Sacraments Antioerp Gallery „ 254

ANDREA VANNI

Madonna and Child San Donato, Siena „ 256

PIETRO VANNUCCI, called PERU6IN0

The Albani Altak-Piece Villa Albani, Rome „ 258

The Delivebt o» the Kets to St. Petee . . Sidiiw Chapel, Rovie „ 260

GIORGIO VASARI

Christ Driving the Traders fbom the Temple . . Vienna Gallery „ 268

DIEGO RODRIGUEZ DA SILVA Y VELAZQUEZ

Don Carlos Prado Gallery. Madrid „ 274

Las Meninas (Photogravure Plate) .... Ein<jston Lacy, Dorset „ 276

Philip IV. as a Sportsman Prado Gallery, Madrid „ 278

DOMENICO DI BARTOLOMMEO VENEZL^'O

St. Cath.\rine Glasgow Gallery ,. 280

JOHANNES VERMEER OF DELFT

The Lbttteb Amtterdam Gallery „ 286

The Music Lesson Windsor Castle „ 288

JOSEPH VERNET

L'ENTBfiE dd Port de Marseilles Louvre „ 290

LEONARDO DA VINCI

The Last Suppeb MHan „ 304

Also see Frontispiece

ALVISE VIVARINI

St. Clare Accademia, Venice „ 310

Santa Gicstina Oallejna Bagati-Valsecchi, Milan „ 310

The Madonna and Child with Saints .... Berlin Gallery „ 312

(N.B. — This illustration is by request headed Luigi Vivariui rather than Alvise Tivariui.i

ANTONIO VIVARINI

Adoration of the Kings Berlin Gallery „ 314

FREDERICK WALKER

The Harbour of Refuge Tate Gallery „ 328

The Vagrants (Photogravure Plate) Tate Gallery „ 328

JAMES WARD

Bull, Cow and Calf in Landscape . . Nottingham Galleni - 334

xria LIST OF ILLUSTRATIONS.

J. A. WATTEAD

L'EMBABqnKMENT PODB CythSre {PhotogravwK Plate) . Old Palace. Berlin To face p. 338

Le Grand Gilles .......... Louvre „ 338

Studies of a Negro's Head Stockholm Gallery „ 340

Q. F. WATTS

Portrait of Cardinal Manning . . . National Portrait Gallery ,, 342

Love and Life Tate Gallery „ 344

THOMAS WEBSTER

Sickness and Health „ 348

A Dame's School National Gallery „ 348

MEISTER VON WEEDEN

The Vision of St. Hubert Edinburgh Gallery „ 354

FRANCIS WHEATLEY

Winter {From an Engraping) „ 358

JAMES McNeill whistler

Portrait of the Painter's Mother .... Luxembourg, Paris „ 360

La Princesse dd Pays de la Porcklaine . . . Freer Collection „ 362

Black Lion Wharf, Wappinq {From an Etching) „ 364

ANTOINE JOSEPH WIERTZ

The Mother of the Artist Br^issels „ 370

SIR DAVID WILKIE

The Letter of Introduction. 1814. . Collection of T. Brocklebank, Esq. „ 372

Original Drawing for same i o-o

r^ ,_ , > on one page . . ,, „ itz

Cartoon from ' Punch ' from same J '^ °

The Penny Wedding. 1819 Buckingham Palace „ 374

RICHARD WILSON

Lake Avebnus National Gallery „ 380

FRANZ XAVER WINTERHALTER

Queen Marie Amelie Versailles „ 384

MICHAEL WOLGEMUT

The Crucifixion Munich „ 390

PHILIP WOUWERMAN

Halt op a Hunting Party Buckingham Palace „ 396

DOMENICO ZAMPIERI, called DOMENICHINO

The Communion of St. Jerome Vatican, Rome „ 404

JOHANN ZAUFFELY, called ZOFFANY

The Cabin of the 'Norfolk' „ 406

Sib James Cockburn and his Daughter .... National Gallery „ 406

MARCO ZOPPO

The Madonna and Child with Saints Berlin Gallery „ 414

The Dead Christ National Gallery „ 414

FEDERIGO ZUCCARO

Mary Queen of Scots Chatsworih „ 416

FRANCISCO ZDRBARAN

St. Bona VENTURA and St. Thomas Aquinas .... Berlin Gallery „ 418

BIOGRAPHICAL DICTIONARY

PAINTERS AND ENGRAVERS

SAAL, Georg Eduard Otto, landscape painter,
born at Coblentz in 1818, studied at Diisseldoil
under Schirmer, but went in 1848 to Heidelberg-,
then to Baden-Baden, and in 1870 to Paris. He
painted mountain scenery, and, later on in life,
scenes in the Forest of Fontainebleau. He died
at Baden-Baden, where he was court painter, in
1870.

SAAL, T., an indifferent engraver of vignette-;
for books. He lived about the j-ear 1672.

SAAR, Alois von, landscape and architectural
painter, born at Traiskirchen, Lower Austria, in
1799, was a student at the Vienna Academy. He
painted in oils and water-colours ; some of his
works are in the Vienna Gallery. He died in 1840.

SAAVEDRA. See Del Castillo y Saavedua.

SABATELLL Francesco, history painter, born
at Florence in 1803, was the pupil of his father,
Luigi Sabatelli. He studied at Rome and Venice,
but in 1823 was invited to Florence by Leopold IL,
and became Professor of the Academy. He died
at Milan in 1829.

SABATELLI, Giuseppe, painter, born at Milan
in 1813, was a pupil of his father, Luigi Sabatelli.
In 1834 he went to Florence, and became a Pro-
fessor in the Academy. He painted portraits and
historical subjects. He died at Florence in 1843.

SABATELLI, Luigi, the elder, history painter
and etcher, born at Florence in 1772, studied at the
Acadeuiy of that city under Pietro Pedroni. From
1788 to 1793 he was in Rome, and from 1795 to
1797 in Venice. In 1808 he was appointed Pro-
fessor of the Academy at Milan by Eugene Beau-
harnais. Of his works we may name :

Abigail before David ; in the Cliapel of the J'irgin at

Arezzo.
The Blessing of the Children ; in the Paroni Palace at

Genoa.
Heliodorus driven from the Temple.
Portrait of the Artist himself.

The Four Great Prophets ; in St. Gaudenzio, JS'ovara.
The Olympic Games ; in the Pitti Palace in Florence.
The Marriage of Cupid and Psyche ; in the Busca Ser-

beUoni Palace in Milan.
The Adoration of God through Prophets and Patriarchs ;

in the Church of Valmadrera at Lecvo.
Three Sceues from the Life of Galileo.
The Triumph of Cupid ; in the Villa Giontini at Florence.
The Corouatiou of the Virgin ; in S. Firenze in Florence.
The Plague of Florence. [Etchiny.)
The Visions of the Apocalypse. (Do).

In many of his frescoes he was assisted by his
VOL. V. B

son Luigi Sabatelli, the younger. He died at
Milan in 1850.

SABATERII, Pierre, a skilful glass-painter, of
the 13th century, practising at Montpellier about
1298. He decorated the cathedral with fine
paintings on glass, which were much admired for
their excellent composition and brilliant colour.
His son Laurent succeeded his father in his prac-
tice, and was an artist of much merit.

SABBATINI, Andrea, (Sabatini.) called Da
Salerno, a painter, was born, at Bologna about
1480. He was the son of a wealth}- merchant,
who, finding his son had a taste for art, took him to
Naples, and placed him under the tuition of Raimo
Epifanio, a painter of little celebritji, under whom
he studied some time. He is then said to have
obtained his father's permission to visit Perugia,
to profit by the lessons of Perugino. On his journey
he encountered some artists, who were so loud is
their praise of Raphael, that Andrea digressed into
that painter's atelier, and in a short time was found
of sufficient ability to be intrusted by Raphael to
execute, from his designs, some of the frescoes in
the Vatican and in S.Maria della Pace, It is also said
that while prosecuting his studies under Raphael, he
was recalled to Salerno by the illness of his father,
who died soon after his arrival. The whole of this
Roman tale rests, however, on the unsupported
evidence of the untrustworthy De' Dominici. So
far as the facts are surely known, Sabbatini worked
only at Naples, where he was soon regarded as
the ablest artist of the school. His frescoes in S.
Maria della Grazie have been, for the most part,
destroyed by alterations made in that church, but
those in the vestibule of the inner court of S.
Gennaro dei Poveri still exist. Other works are:

Naples.

Brancacci \ ^^ Assumption of the Virgin.
Chapel, Diiomo. J

Museum.

Salerno,

iS. Spirito di Palazzo. The Adoration of the Magi,
iS', Uomenico May- \ The Madonna and Eambino,
giore. j with St, Elisabeth and other

Saints,
Descent from the Cross,
Adoration of the Magi.
Miracle of St. Nicholas of Bari.
St, Benedict enthroned among

Six Saints,
Two Scenes from the Life of

St. Placidus,
A Pieti,

Ditomo.

Sabbatini died at Gaeta in 1545.

A BIOGRAPHICAL DICTIONARY OF

SABBATINI, Lorenzo, called Lorenzixo da
Bologna, was born about 1530 at Bologua, wbere
he studied under Tibaldi. After having painted
several pictures for tlie cliurches at Bologna, lie
visited Rome during the pontificate of (jregory
XIII., and improved his style by study of the
works of Raphael, iniitiitin.s;- them with such suc-
cess, that he has been called a pupil of Raphael,
althougli he was born some ten years after his death.
In his smaller pictures he seems to have followed
Parmigiano. lie was employed by the pope in the
Capella Paolina, in the Vatican, where he painted
several subjects from the Life of St. Paul in con-
junction with Federigo Zuccaro. In the Sahi
Reggia he painted a ' Triumph of Faith. '_ These
works were executed so much to the satisfaction
of the pope, that he was appointed superintendent
of the decorations then going on in the Vatican.
Sabbatini died at Rome in 1577. Of his numerous
pictures we may name :

Bologna. & Pietroand \ ^ jjadouna with Saii.t.s.
.S. Paulo, j

•^•^Jf"™ '''•■"'' 'The Crucifixion.
Grazie, )

„ La 3Iorte. The Assumption.

,. i-. Martino Mag- \ g^ jo^chim aud St. Auue.

S.'Giacomo. St. Michael vanquishing the
Kebel Angels.
„ „ The Four Evaugelists.

„ ., The Four Doctors of the

Church.
Dre.sJeii. Galki-y, Marriage of St. Cathariue.

Paris. Louvre. Virgin aud Cliild aud St. John.

SABLET, Jacques Henei, brother of the nest-
named, was born in 1749 at Morges. H>i was the
pupil successively of Dubois and Cocher, at Lyons,
and of Vien, in Paris. He travelled in Spain and
lived twenty j-ears in Italy, dying in Paris in
1803. There are five of his pictui-es in the Nantes
Museum.

SABLET, Jean Francois, was born at Morges,
in Switzerland, in 1751, and taught the rudiments
of art by a decorator at Lyons. He then went to
Paris, where he studied under Vien, whom he
accompanied to Rome, where he studied anatomy,
ornamental design, and costume, and painted por-
traits, genre pictures, and landscapes. He settled
at Nantes, where, in 1812, he was commissioned
by the town to paint six grisailles for the Bourse,
illustrating Napoleon's visit to Nantes. After
Waterloo these were sold and exported to America.
Sablet died at Nantes in 1819. There are sis uf his
works in the Nantes Museum.

SABLON, PlEKKE, a designer aud engraver, was
born at Chartres, in 1584, according to his inscrip-
tion on the oval border of his own portrait :
"Pierre Sablon Ciiaktrain. xxiii ans. 1G07." On
the margin is inscribed :

" Me coQtemplaut uu jour en deux diuerses gUices
Je veis le mien Profil despainct uaiuement ;
Lors je delibore en raoy soudaiuemeut
De graver ce Pourtraict dout vo" voyez les traces."

There are only three other prints known by him :
' Lamech and Cain,' after Lucas van Leyden,
(Bartsch, N" 14,) but left unfinished (it is the
counterpart of the original, and has the date 15"24
high up on the right, the 5 reversed, and the mark
of Lucas ; at the bottom F. Sablon f. 1602 ; ' The
Good Samaritan,' a small square print, mentioned
in the collection of Paignon Dijonval ; and the
portrait of Rabelais, bust turned to the right, but
full face. This is a medallion ; on the border is
2

Madrid.

Gallery

Petersburg. Hermitaye.

iLome.

Vatican.

inscribed "Franc. RABEbESiDS;" in the exergue,
'■ Sum petulantis plene caohino. Pers P.
Sablon /."

SACCHI, Andrea, sometimes called OucHE,born
at Nettuno, near Rome, about the end of the IGth
century, was the son of Benedetto Sacchi, a painter
of little note, by whom he was first instructed ; he
afterwards studied under Francesco Albani. On
leaving the school of that painter he studied
Raphael, Polidoro da Caravaggio, and the antique.
He was favoured by Cardinal Barberini, who em-
ployed him in his palace. Several of the public
buildings of Rome possess his works. His ' St.
Romuald with his Monks,' in the Vatican Gallery,
used to be considered one of the four finest pictures
in Rome. The composition is extremely simple; it
represents the Saint seated in a valley of the
Apennines, surrounded by some members of his
order, and explaining his reasons for retiring from
the world. The effect he has given to a group of
six figures, all habited in white drapery, without
the aid of contrast, is very remarkable. Sacchi
died at Nettuno in 1661. Among his pupils were
Lauri, Garzi, and Carlo Maratta. Additional
works :

SS. Paul the Hermit aud
Anthony.

Portrait of Fr. Albaui.
„ „ Himself.

Angel cousoHug Hagar.

Triumph of Truth.

Repose t>f Veuus.

Mass of St. Gregory.

Clement VIII.

Death of St. Anna.

Angel appearing to Joseph.

St. Andrew.

Ham scoflBng at Noah.

Juno in her Car.
,. „ Wisdom surrounded by the

Virtues,

SACCHI, Antonio, an Italian painter of the
17th century, a native of Como. He studied at
Rome, and is said to have died of grief in 1694, in
consequence of having painted an ill-proportioned
fresco.

SACCHI, Carlo, painter, was born at Pavia in
1617 (?), and learned the first rudiments of design
in Milan from Rossi. He went to Rome, where he
resided some time, and afterwards visited Venice.
The works of Paolo Veronese were the particular
objects of his imitation, and one of his best pictures,
a ' St. James raising a dead person,' in the Osser-
vanza, at Pavia, is painted nmch in the style of
Paolo. "He also executed some etchings after the
Venetian masters, among which are an 'Adora-
tion of the Shepherds,' .'ifter Tintoretto, and an
'Adoration of the Magi,' after P. Veronese. He
died at Pavia in 1706.

SACCHI, Gaspauo, of Imola, flourished in the
early part of the 16th century, and painted many
pictures in Ravenna and other parts of the Ro-
magna. In the sacristy of Castel S. Pietro at
Imola there is an altar-piece with his name, and
the date 1517; and at Bologna, in S. Francesco-in-
Tavola, another dated 1521.

SACCHI, Giuseppe, the son of Andrea, painted
portraits and historical sulijects in the 17th cen-
tury. He was his father's pupil, and eventually
became a friar minor. No known work of his is
extant, but it has been surmised that a ' Sibyl,' at
Warsaw, attributed to ' Giuseipe S;iCconi,' may be
by him.

6'. Carlo a Catinari.

S. Giuseppe.

Quirinal.

jna. Gallery.

PIER FRAN'CESCO SACCHI

[Chiesa dei Fute, Levmito

ST. GEORGE AXD THE DRAGON

PAINTERS AND ENGRAVERS.

SACCHI. M., (• r II Sacchi.) .» native of Casals,
flo'irished in the ITtb century. He jainted in S.
Francesco, at Casale, a picture representing a lottery
for mirria.;e portions, in which a great assemblage
of fathers, mothers, ar:d their daughters is intro-
duced. At S. Agostino di Casale is a standard,
a 'Virgin and Sain;s,' containing portraits of
several princes of the hoiise of Gonzaga, by him.

SACCHI, Pier Francesco, (called variously
SACcnio, Sacchius, Sacco, and Saccus, F.:asoesco,
or Pier Fraxcesco, surnamed il Pavese, or Pietro
or Pier Francesco di Pavia,) has been wrongly
recorded by Lomazzo as one of the artists who
flourished at iiilan under Francesco Sforza. As a
matter of fact, his works were all executed in
the I6th century. The earliest work hy him is
the ■ Parting of St. John the Baptist from his
Parents,' dated 1512, in the oratory of Sea. Muria
at Genoa. In 1514 he painted a ' t.'rucifixion with
Saints' (now in the Berlin Museum) for the church
of S. Francesco di Paulo at Nerri, and in 1514
the ' Four Doctors of the Church ' (now in the
Louvre in Paris) for the church of S. Giovanui
di Pre, afterwards S. Ugo. Dojuraents bearing
date Jiily 12 and 17 prove that in 1520 he was a
member of the Council of the Guild of Painters at
Genua; and in 1526 he completed the 'Glory of
the Virgin, \vith Saints,' still in the church of S.
Maria at Castello. His latest, and finest, recorded
work is a ' Deposition ' in the church of SS. Nazzaro
and Celso at Multedo, near Pegli ; hut there is a
magnificent ' St. George ' in the church of the Frati
Minori at Levanto, near Spezia, of which we give
an illustration, that may with justice be assigned
to him, whilst a 'St. Jerome and St. Martin,' once
attributed to Zingaro, also in the Berlin Museun),
is most characteristic of his peculiar style. The
drawing and colour of his earlier work is hard and
unpleasant in line and texture, and there is a want
of flexibility in liis figures, but he gradually im-
proved, and wis always fuhy alive to the beaut}' and
interest involved in accessories, landscape, costume,
details, &c., with which his work is apt to be even
too overladen. His artistic tendencies are distinctly
North Italian, with reminiscences of the deUcaey
of feeling distinguishing the Umbro-Peruginesques
of the Bolognese and Ferrarese School. From a
certain similarity of type and finish in detail he
has even been erroneously described as the master
of Moretto. Little or nothing is known of his
private life.

Besides those works already mentioned, the fol-
lowing, though not signed according to his usual
custom, have been attributed to him :
Berlin. JIuseum. Holy Family. (Attributed to

SoUrio, hit icith more reason
pcrh'ips to Cesare Jfagno.)
JIulte.10. CA»r<rAo/55 Is^^jj y ^f g^^^^^ f,„^ ^^^

r, -^ %""'''■ Tti P^^io°-
CeliO {Acicristvl-J

Pavia. Malasi:ina Coll. Crucifixion. (Much injured.)
,, Ch. of 6. Mickele. Frescoes and Decorations : Four
Doctors, Symbols of the Evan-
gelists, and Prophets.

Ecrje. Palazzo Corsini. The Apotheosis of S. Bernardino
of Siena. R. H. H. C.

Mention of another Pier Francesco Pavese oo-
casionallv occurs as early as 1460.

SACCHIATI, Pietro, a native of Ravenna, born
about 1598, is noticed by Basan as an engraver in
wood and chiaroscuro after various masters.
B 2

SACCHIENSIS (or De Sacchio). See Licisio,
GiovAN'Xi Antonio.

SACCO, Scipione, (Sacchi,) a painter, and native
of Cesena, who flourished in tlie 16th century. He
painted a ' St. Gregory ' for the cathedral of Cesena,
which is inscribed Csisenas, 1545; and a 'Death
of St. Peter Martyr ' for the church of S. Domenico.
He is said by some to have been a pupil of
Raphael.

SACRAMENTO, Jcak del Santisimo. See

GCZMAN.

SADDLER, John, Une-engraver, was bom in
1813, and became a pupil of George Cooke, under
whom he was employed on Turner's ' Southern
Coast of England.' Later on he engraved the ships
in the large plate of 'The Fighting T^meraire,' of
which the rest was executed by Dickens and
Willmore. Thereafter he worked with Thomas
Laiidseer after Sir Edwin Landseer, especially
on 'The Children of the Mist,' 'The Twins,j
' Braemar,' and also Rosa Bonheur's ' Horse Fair.'
From 1862 he exhibited engravings constantly
at the Royal Academy ; after Millais from 1-62 to
1864; 'Government House, Svdney' (J. S. Prout,
1868); -Les Miserables' (G. Dore, 1873): 'Illus-
tration to '-My Little Lady"' (Sir E. J. PovT^ter,
1877); 'Hop Gardens, Kent' (C. Lawson, 1379);
' Lieut.-Colorel Cosmo Gordon' (Sir G. Reid,
1880) ; 'The Lady of the Woods ' (J. MacWhirter,
1882); and 'Durham Cathedral' (H. Dawson,
1883). His last plate was Dore's ' Vale of Tears.'
He left unfinished a plate iifter the portrait of Mr.
Walter of the ■ Times,' begun by F. Holl and com-
pleted by Prof Herkomer. He was one of the
last who worthily carried on the traditions of
English line-engraving. He did many book illus-
trarions also, after Millais, Tenniel, Poynter, Dore,
and others. He was an occasional exhibitor at the
Royal Society of British Artists as well as the
Royal Academy. His sad death by his own hand
in a fit of depression occurred at Wokingham,
Berkshire, on March 29, 1892.

SADELER. GiLLis, (JioiuiDS,) the nepUew and
the pupil of Jan and Raphael Sadeler, was bom at
Antwerp in 1575. After being well grounded in
the principles of design, he took up the graver, and
in a feu- years reached a perfection beyond that of
his instructors. He had passed some time in Italy,
where he engraved some plates after Italian
painters, when he was invited to Prague by the
Emperor Rudolph II. , who retained him in his
service, and assigned him a pension. He enjoyed
the favour and protection of the two succeeduig
emperors, Matthias and Ferdinand II. He used
the graver with a commanding facility, sometimes
finishing his plates with surprising neatness, when
the subject required it ; at other times working
broadly and boldly. His plates, which are very
numerous, represent historical subjects, portraits,
landscapes, &c. Some are from his own designs,
and many, particularly his portraits, are of great
excellence. Sadeler died at Prague in 1629. He
has been called ' The Phojnix of Engraving.' The
following are considered his best priuts :

PLATES after HIS OWN WORKS.

The Emperor Matthias. 1616.

The Empress Anne, his consort. 1616.

The Emperor Ferdinand II. on horseback ; in two

sheets. 1629.
Burckhard Je Berlihing, Privy Counsellor to Rudolph II.
Christopher Guarinouius Fontanus, Physician to thf

same.

A BIOGRAPHICAL DICTIONARY OF

John George Goedelman, Jurisconsult.

Joachim Huber, Anlic Counsellor.

Jacob Chimarrhjeus, Grand Almouer.

Cardinal de Dietricbsteiu, Bishop of Olniiitz. 1604.

John IMatthew Wareufels, Aulic Counsellor. 1&14.

Adam, Baruu de Trautraansdorf .

Siegfried de Kolouitsch.

Ferdinand de Kolonitscb.

Torquato Tasso, Poetctrum Princep^. 1617.

Octavius Strada, Antiquary.

Peter Brueghel, painter, of Brussels. 1606.

Martin de Vos, jiainter, of Antwerp.

Sigismond Bathori, Prince of Transylvania.

A set of twelve plates, representing Angels with the

Instruments of the Passion.
A set of fifty-two Views near Eome, entitled ' Vestigi

delle Antichita di Roma.'
The Burning of Troy, an etching ; ^g. Sadeler, fecit,

aqua forii.
Charity, represented by a female figure with three

children.
Narcissus admiring himself in a Fountain.
Pan and Syrinx.
St. Sebastian dying, with an Angel drawing out the

arrows from bis side.
St. Dominick receiving the Institution of his Order

from St. Peter and St. Paul.
The scourging of Christ.
The Crucih-xion.
The Great Saloon at Prague ; in two sheets.

PLATES AFTER VARIOUS MASTERS.

The Emperor Rudolph II. on horseback, with a Battle

in the background; after Ad. dc fries.
The Virgin and Child ; aftei- Raphael.
The Angel appearing to the Shepherds ; afiir liassane.
The Murder of the Innocents ; a/>ei' Tintoretto.
The Last Supper ; after ttie same.

St. Peter called to the Anostleship ; after F. Baroccio.
The Entombment of Christ ; after the same.
The Scourging of Christ; after the Cavaliere d'Arpino.
The Martyrdom of St. Sebastian ; after Palma Giovine.
The Rich Man and Lazarus ; after the same.
Angelica and Medora ; after Carlo Cai/liari.
Hercules and Ompbale ; after B. Spranger.
The Marys at the Tomb of Christ ; after the same.
The Annunciation ; after Peter de Witte {Candida).
The Virgin and Infant Jesus ; copied from Albert tidrer.
Christ bearing his Cross ; the same.
Judith with the Head of Holofernes ; after Johann van

Aachen.
The Nativity ; after the same.
The Virgin and Infant Christ, with St. John ; after the

same.
Several sets of Landscapes ; after Brueyhel, Paul Brill,

Roelant Savery, P. Steevens, &c.

SADELER, Jan, engraver, was born at Brus.sels
in 1550. The profession of liis father was to
engrave ornaments on steel and iron, to be inlaid
with gold or silver, and Jan Sadeler was brouglit
up to the same business. At a very early age,
liowever, he applied himself to the study of the
human figure, which he drew correctly, though
with tlie stiffness and formality of the time. He
was nearly twenty years of age before he com-
menced engraving on copper, wlien he executed
some plates from the designs of Crispin Van den
Broeck, which were so favourably received, tliat he
was encouraged to devote his attention entirely to
engraving. He travelled throughout Germany to
Italy, where he divested himself, in a great degree,
of the dry and hard maimer which is discernible in
his earlier works. His plates are executed with
the graver only, in a neat, clear style. His drawing
is generally correct, and there is fine expression
in his heads. Jan Sadeler died at Venice in 1600.
His prints are very numerous ; the following list
is confined to the best :
4

PORTRAITS.
Clement VIII., Pont. Max.
Marie de' Medici.

Charles, Hereditarj' Prince of Sweden.
Otho Henry. Count Schwarzenberg.
Sigismund Feyerabeud, the famous printer. 1587.
George Hoefnagel, painter of Antwerp.
Martin Luther ; in an arabesque border.

SETS OF PRINTS.
Eight plates of the Creation of the TP'orld ; after Crispin

Van den Brotck.
Six of the History of Adam and Eve ; after Jfickiel

van Coxe.
Sixteen subjects from the Book of Genesis ; after Jll. de

Vos.
The Life of Christ ; after the same.
Seven plates of our Saviour's Passion ; after Christopher

Schwarz.
A set of prints called ' The Hermits ' ; engraved in

conjunction with his brothets ; after the same.
The Twelve Months of the Year ; after P. Steevens.
The Four Seasons ; after Hans Bol.
The Four Times of the Day ; after Tiieodore Bernard.

SUBJECTS AFTER VARIOUS MASTERS.

Dives and Lazarus ; after Bassano. (One of the three

' Sadeler's Kitchens. ')
Christ with Martha and Mary ; after the same. (Ditto. )
The Angel appearing to the Sliepherds ; after the same.
The Nativity ; after Polidoro da Caravagcfio.
The Virgin, with the Infant sleeping, and an Angel ;

after An. Carracci.
St. Jerome praying; after Gillis Mostaert.
Mary Magdalene in meditation ; after the same.
St. Koch, with two Pilgrims ; after the same.
Jesus calling to Him the little Children ; after Jodocus

de Winijhe.
The Prodigal Son ; after the same.
The Annunciation ; after Peter de TVitte (Candida).
Clirist at table with the Disciples at Emmaiis ; after the

same.
The three Marys at the Sepulchre ; afte>- the same.
The Last Supper; after the ^ami.
The Martyrdom of St. Ursula; after the same.
The Nativity ; after J, van Aachen.
The Holy Family, with Mary Magdalene ; after the same.
The Crucifixion ; after the same.
The Last Judgment ; after the same.
Mary Magdalene penitent ; after Federiyo Zustris.
Christ appearing to Magdalene ; after the same.
The Approach of the Deluge ; after Theodore Bernard.
The Coming of the Last Day ; after the same.
The Trinity: after Antonio Maria Viani.
Several Landscapes ; after Paul Brill, and others.

SADELER, Marcus, is supposed to have been
the son of Jan Sadeler, and to have been born at
Munich between 1589 and 1595 ; but great uncer-
tainty hangs about his paternity, and it is not clearly
known whether he was an engraver as well as o
publisher of prints. He resided many years at
Venice, whither, it is said, he was taken by Jan
Sadeler, and it is certain that many of the prints by
Jan, Raphael, and Gillis were published by him ;
but only the second states have his address. Neither
Basan, Lipowsky, nor Fiissli mention any of his
works ; while the ' Passion series,' after Diirer,
whicli Heller ascribes to Marcus, are without sig-
natures or dates (the latter would range from 1607
to 1013), although the second states have Marcus
Sadeler's address. They are all reversed from the
plates by Diirer.

SADELER, Philipp, engraver, a native of
Munich, the son of Gillis Sadeler, flourished about
1626. He engraved portraits, landscapes, and
pictures of saints.

SADELER, Raphael, the younger brother of
Jan Sadeler, was born at Brussels in 1555, and
brought up to the same profession. Jan and Rapliacl

PAINTERS AND ENGRAVERS.

travelled together through Germany, where Ra-
phael engraved a variety of phites, after Johann
von Aachen, Matthias Kager, Matthias Griinewald,
and other masters. They afterwards settled at
Venice. Following the example of his brotlier,
Raphael Sadeler worked entirely with the graver,
which he handled with boldness and precision.
His drawing of the figure is correct. His printf
are nearly as numerous as those of his brother.
Some are very fine, particularly those after Van
Aachen, and the portraits. Raphael Sadeler died at
Venice in 1616. The following are his principal
plates :

PORTRAITS.
Paul V. ; Pont. Jfax.
S. Carlo Borromeo.
Ernest, Archbishop of Cologne.
Leopold of Austria, Bisliop of Salzburg aud Passau.
Ferdinand, Archduke of Austria.
Charles Emanuel, Duke of Savoy, ou horseback.
John Dietmar, Abbot of Fnrsteuberg.
HypoUtus Guarinonius, M. D.

SUBJECTS AFTEIl VARIOOS PIASTERS.

A set of four plates from the Life of the Virgin ; from

his oirn dcsiyns.
Twenty-eight plates from the Life and Passion of

Christ ; the same.
Mary Magdalene at the Sepulchre, with St. Peter and

St. John ; after J. de Winghe.
Lot aud his Daughters ; after the same.
The Holy Family, with !5t. Elizabeth aud St. John ;

after Jalinun ion Aachen.
The Entombment of Christ ; after the same.
The dead Christ in the Sepulchre, with Angels ; after

the same.
Mary Magdalene penitent ; after ike same.
The .rudgment of Paris ; after the same [dated 15791.
The Virgui aud Child ; after Pieter de If'itte. 1593.
The Immaculate Conception ; after the same.
The Presentation in the Temple ; after the same. 1591.
The Hesurrection of Lazarus ; after Rottenhamer.
The Marriage of St. Catherine ; after Uendrik Goltzius.
A Pieta ; after J. Siradanus.
Death seizing a Lady at a Feast ; after the same.
The Crucifixion ; after Palma.
The Virgin aud Child; after An. Carracci.
The Holy Family, with St. John ; after Raplmel.
The Annunciation ; aft-.'r Fede^-igo Zuccaro.
The Adoration of the Slagi ; after Bassano. 1598.
Christ at Emmaiis ; after the same ; one of the three

Sadtler^s Kitchens.
The Four Seasons ; after J. Stradanus.
A set of si.^ Landscapes ; after P. Steevens.
Two Landscapes with figures ; after Matt. Brill.
The history of the Prodigal Sou ; in four scenes after

Paul Brill.
A set of prints for Kader's Bavaria Saneta et Pia, en-
graved with the help of his son (1624-8).
Several Allegorical subjects ; after Martin de J 'os.
The great Battle of Prague, in eight sheets ; cousidered

his masterpiece.
Venus aud Adonis ; after Titian.
SADELER, Raphael, the younger, sou and pupil
of the last-named, worked at Venice subsequent to
the year 1596. He afterwards accompanied his
father to Munich, and assisted in the plates to
Rader's ' Bavaria Saneta et Pia,' and also produced
several plates on his own account, among them the
following :

The Auuunciatiou ; after C. Schtcar:.

The Virgin and St. Anne caressing the Infant Jesus ;

after the same.
The Holy Family, with his name and the date 1613.
Forest Scenery ; after J. Brueghel.

SADELER, Tobias, supposed to be the son of
Gillis, was also an engraver, but his works are
very little known. He worked at Vienna about
the year 1675.

SADLER, Thomas, jiortrait aud miniature
painter, was the son of a Master in Chancery. He
practised in the reigns of Charles IL, James II.,
William III. His best works are a portrait of
Bunyan, which has been engraved in mezzotint,
and a miniature of the Duke of Monmouth.

SADLER, William, a portrait painter, the son
of a musician, was born in England, but studied
and practised at Dublin. He was an artist of
some ability, and died at Dublin at the end of the
18th century.

SAENKEDAM, Joannes, a Dutch designer and
engraver, born at Zaandam in North Holland in
1565, was by trade a basket-maker, and was in-
structed in drawing and the use of the graver by
Hendrik Goltzius and Jakob de Gheyn. Saeuredam
died at Assendelft in 1607. He worked entirely
with the graver, and has left a great number of
plates. The best, perhaps, are the following :
Susanna aud the Elders ; after a design by himself.
Hercuies between Minerva aud Venus ; ditto.
Lycurgns giving Laws to the Lacedemonians ; ditto.
The Wise and the Foolish Virgins, in five plates. 1606,

ditto.
An Allegory relative to the government of the Low

Countries by the lufauta Isabella. 1602 ; ditto.
Tlie Prosperity of the Uuited ProWnces under the

House of Orange ; an allegory. 1600 ; ditto.
The stranded Whale, on the coast of Holland. 1602;

ditto.
Carel vau Mander ; after Goltzius.
V. H. Hornanus, Poet and Physician ; alter Van

Mander.
.Tohn Cesaree, Philosopher,
.'.-an de la Chambre, Writing-master.
Adam and Eve iu ParadiNe ; after H. Goltzius.
Lot and his Daughters ; after the same.
Judith with the Head of Holofernes ; after the same.
Susanna and the Elders ; after the same.
Ceres, Venus, and Bacchus ; after tiie same.
The Seven Planets, the Four Seasons, the Five Senses,
the Four Ages, the Three Marriages at different times
of life ; all after the same.
The Bath of Diana ; after the same.
A set of six plates from the History of Adam aud Eve ;

after Ab. Bloemaert.
Four plates from the Histories of Elijah aud Elisha;

after the same.
Elijah .and the Widow of Sarepta ; after the same. 1604.
Annunciation to the .Shepherds ; after the same. 1599.
The Prodigal Son ; after the same. 1618.
Vertumuus and Pomona ; after the same. 1605.
Mars and Venus ; after P. Isaacx.

Judith with the Head of Holoferues ; after L. van Leyden.
David with the Head of Goliah ; after the same.
The Nativity ; after C. ean .Uaiuler.
Paul aud Baru.abas ; after the same.
Adam aud Eve in Paradise ; after Corn, van Haarlem.
St. John preaching in the Wilderness ; after the same.
Angelica and Medora ; after the .^ame.
Vertumuus aud Pomona ; after the same.
The Grot of Pluto ; inscribed Lu.v venit in mundum,

kc. ; after the same.
The Death of Epamiuondas ; after P. da Caravaggia.
Camillas breaking the Treaty of Peace between the

Romans aud the Gauls ; after the same.
The History of Xiobe aud he"r Children ; in eight sheets,

forming a frieze ; after the same. 1594.
The Entombment of (Christ ; after M.A. da Caravaggia.
Christ in the House of Levi ; after P. Veronese.

SAENREDAM, Pieter, son of Joannes Saenre-
dam, was born at Assendelft in 1597. He was a
scholar of Franz Pieterzen de Grebber,but adopted
a different stj'le from that of his master. He
painted architecture, particularly the interiors of
churches, in a large and luminous manner. His
pictures were highly esteemed in his own time,
and are now extremely rare. A view of the Town-
hall of the city of Haarlem, painted by him, was

A BlOGRAPHICAIi DICTIONARY OF

eiiliveued with a groat number of figures, repre-
senting the solemn entry of Prince Maurice. Few
particulars of him are recorded. He was buried
at Haarlem on the 16th August, 1665. Works :

Amsterdam. Jlluseun. Ch. of St. Bavon. Haarlem,
1636.
„ „ Another Picture of the i^ame

subject.
,, „ Two Views of the Maria-kerk,

in Utrecht.
» „ View in the Church of A.sseu-

delft ; inscribed, Pieter Saen-
redain, deie gescliildert int jner
1649 den 2 October. 'T)ie
figures are by Ad. v. Ostade

Berlin. Museum. Church Interior.

Haarlem. Museum. Interior of St. Anne's Church,

Haarlem.

Kotterdam. Museum. Maria-kerk, Utrecht.

SAEY, , a Flemish painter, native of Ant-
werp, practising in the 17th century. He painted
chiefly architectural subjects, and worked jointly
with Jerome Janssen, who frequently added figures
to his backgrounds for hiiu. A certain Jacques
Ferdinand Sae)' is mentioned in the registers as a
pupil of Van Elirenberg in 1672, and was probably
rehited to the above, and not identical with him,
as there appears to be evidence that the first-men-
tioned Saey was at work on his own account as
early as 1660.

SAFFT, J. C. G., a Dutch painter and engraver.
of little importance, born at Amsterdam, 1778.
He was a pupil of P. Barbiers, and painted land-
scape ar.d interiors.

SAFTLEVEN, Cornelius, (Zachtleven, S..4.rT-
LEEEN,) painter and engraver, was born at Go-
rinchem in 1607 ; son of Herman and Lyntgen
Moelants. Thougli he did not equal his brother
Herman in talent, he showed considerable skill
in genre picturi^s, in the style of Teniers and Brou-
wer. Several of his etchings were publisiied. His
(lortrait was painted by Vandyke, and engraved by
Vosterman. He died in l'''8'.i. In the Dresden
Gallery are four esaniples of his work, and in the
Amstf-rdam Museum, three. W. H. J. W,

SAFTLEVEN, Herman, painter and engraver,
born at Hotterdam in 1609. He was the younger
brother of Cornelius Saftleven, and a pupil of Jan
van Goyen. His views of the Rhine and Maan
art delicately painted from nature, and crowded
with figures. He died at Utrecht, Jan. 5, 16'S5.
His art, though conventional, is delightful in its
way, and his pictures are now in great request.

Amsterdam. Museum.

Copenhagen. Gallei'i/.

Dresden.

Haarlem.

Loudon.
Munich.

Gallery.

Museum.

Duboich Gall.
Pinakothek.

Kiver View.

View on the Rhine.

Village on a River.

Hilly Landscape.

Itiver Scene.

■\Vharf on the Rhine.

Vintage ou the Ehine.

Inn among iiocks.

Vi.sta througli a Timber Bridge.

"\''iew of Utrecht.

Meadow-l.ind at Harvest-time.

A series of eighteen pictures,

including Views of Utrecht.

Eugers, Ehrenbreitsteiu, and

Cologne.
Jan Van Oldenbarnevelt and

his Judges, the latter under

the .shapes of animals.
View ou the Khine. {A master-

2fiece.)
A View of the Ehine.
Two Rhenish laud.^cipes.
One Dutch l.'mdscai>e.

Rotterdam. Museum. View on the Rhine.
Stockholm. Gallery. Large Khine Landscape. »

SAFVENBOM, Johann, a Swedish painter, bom
in 1721. He studied for a time in France, under
Joseph Vernet. In the Stockholm Gallery there is
a 'Shipwrecli near a Fortress' by him. He died
iu 1784.

SAGLIO, C.oiiLLE, French painter; born at
Strasburg in 1804 ; became a pupil of Jolivard
and of C. Roqueplan : achieved success with
various landscapes, his subjects being chosen
from the scenery of the Rhine and the Rhone. He
obtained a second-class medal at the Salon in 1846.
He died in October 1889.

SAGRESTANI, Giovanni Camillo, a Florentine
painter and poet, born in 1660, studied painting in
the school of Giusti, and also attended tliat of
Carlo Cignani, wiiose manner he copied rather than
emulated. He died in 1V31.

SAGSTATTER, Gottfried Heinrich, German
painter ; born at iluuich in 1811, where he studied
at the Academy, being a pupil and proUg^ of
Cornelius. After devoting his talent to allegorical
and historical subjects he mado a greater success
by a vivid portrayal of Bavarian peasant life,
such as ' Bauernwirtstube,' ' Dorfpolitiker,' ' Alter
I Fiedler,' and others. He died at Munich, December
25, 1883.

SAGSTATTER, Hermann, German painter;
born at Munich in 1808 ; became a pupii of the
Munich Academy ; at first painted genre pictures
and scenes of peasant life, but subsequently pro-
duced works of a religious character and altar-
pieces for churches in Bavaria and Suabia. He
designed the four glass windows showing the
Prophets in the Cathedral at Cologne ; and there
are frescoes bv him in the Landsberg Town Hall.
He died in 1887.

SAHLER, Louis, (Saillak,) an engraver, was
oorn in France in 1748. He engraved some plates
fnr the Boydells, among them the following :

Portrait of Helena Forman ; after Buhcns.
The Prince of Orange ; after Honthorst.
The Eirth of Bacchu.s ; after Hevnolds.
The Toper ; after G. Don.
George, Prince of Wales ; after John Smart.
The Virgin and Child ; after Domenichino.

SAHLER, Otto Christian, an obscure engraver,
whose name is affixed to a portrait of one Adrian
Stalbent, a painter. He was a German goldsmith,
and lived in the 18th century. His plates were
imitations of drawings.

SAILLANT, LE Pere, an Augustine monk of
the 16th century, much esteemed for the excellence
of his miniatures. He died at .\vignon.

SAILMAKER, Isaac, an English painter of
marine subjects, born in England in 163i<, was a
pupil of George Geldorp, and was appointed by
Cromwell to paint a view of the fleet before Mar-
dyke. Walpole says that " a print of the con-
federate fleet, under Sir George Rooke, engaging
the French commanded by the Count de Toulouse,
was engraved in 1714, from a design of Sailmaker."
He lived to the age of 88, dying in 1721.

SAINT ANDlifi, Simon Renard de, a portrait
painter, born in Paris in 1614, was a pupil of
Beaubrun, and settled at Rome. He painted two
very good portraits of Anne of Austria. He died
•n Paris in 1677. He lias left several etchings.

SAIXT-AUBERT, Antoine Fran(;ois, painter,
ivas born at Cambrai in 1715. He was educated in

PAINTERS AKD ENGRAVEBS.

Paris, at the expense of the Archbishop of Saint-
Albin. and afterwards became the first master of the
Cambrai School of drawing. The Musees of Cambrai
and Lisle possessed examples of his work. He
died in the former city in 1788. His son, Locis
Joseph Xioolas, also a painter, succeeded to liis
father's post. He was bom in 1755, and died in
1810. There is a • Christ in the Tomb ' by him in
the Cambrai Museum. By Antoine-Louis SAi.vr-
AlTBEKT, son of Louis Joseph Nicolas, there is a
' Norman Coast Scene,' in the same collection. He
wa? born in 1794, and died 1854.

SAIXT-AUBIX, AUGUSTIN', engraver, born Ln
Paris in 1736, was taught drawing by his brother
Gabriel, and engraving by Etienne Fessard and
Laurent Care. He engraved ' Leda w-ith the Swan.'
after Veronese, and 'Venus with a Mussel-shell,'
after Titian, and more than 300 portraits of tlie
famous men of liis day. He died in 1807.

SAINT-AUBIX, Charles Germain de, a French
engraver, was born in Paris in 1721. He was the
author of three series of plates known respectively
as 'Essais de PapiUonneries humaines,' ' Mes petits
bouquets,' and ' Les Fleurettes.'

SAINT-AUBLX, Gabriel Jacques de, brother of
the last-named, was born in Paris in 1724. He was
a pupil of Jeaurat, CoUin de Vermont, and Boucher.
He painted first heroic and then domestic subjects,
and has left forty-three etchings. He died in 1780.
His brother Louis-MiCHEL, also a painter, was em-
ploj'ed at Sevres.

ST. AUBYN, Catherine, is the author of some
etchings dated from 1788 to 1798. Two drawings
bv her of St. Michael's Mount have been engraved.
" SAINT-AULAIRE, Felix Achille, painter, a
native of Piedmont, born 1801. He studied under
the elder and younger Garneray, and practised in
France. He chiefly devoted himself to marine
subjects. He last appeared at the Salon in 1838.
He is also known as a lithographer.

SAINT-EVE. Jean-Marie, engraver, bom at
Lyons on the 9th June, 1810. He studied first at
Lyons under V. Vibert, and subsequently in Paris
under Richomme, and at the Ecole des Beaux Arts.
In 1840 he gained the ' Prix de Rome,' and in 1848
a medal of the first class. He engraved some im-
portant plates, and died at Montmartre, September
4tli, 1856. Among his best plates are :

Portrait of Andrea del Sarto ; after that master.
Poetry ; after Raphael.
Theology; after the same.

Pamphlet notices of his life and works were pub-
lisb.ed at Lyons by J. S. Bourgeois in 1860, and by
Dr. Charles Fraiss'e in 1862.

SAINT-EVRE, Gillot, painter, born at Bault-
sur-Snippe, Mame. He was for a time an officer
of artillery, but gave up military life to devote
himself to art. He was a frequent exhibitor at the
Salon, and died in Paris in 1858. There are examples
of his work at Versailles.

SAlNT-IGNy, Jean he, a painter and engraver
of Rouen, who nourished at the end of the 16th
century. He wrote a book on tb.e iirst elements of
portrait paintin.:, and died in 1C49.

S.\LN"riX. Jules Emile, Frenoli painter ; bom
-August 14, 1829 ; became _a pupil of Drolling, Le
Boucher, Pieot, and the Ecole des Beaux .-\!ts.
For over ten years he lived in America, and made
a special study of the Indians jmd their wnya ami
customs. Mainly a ].ortrait-painter and p sti»llist.
though occasional genre ar.d allegorii-al subj>cts
were successfully portrayed by him. In 1866 and

1870 he obtained medals, and the Legion of Honour
in 1877. He died July 14, 1894.

SAINT-JE.\N, SiMOX, flower-painter, was horn
at Lyons in 1808, and educated there under Fran9ois
Lepage. He took Van Huysuin as his model, and
rivalled his truth to nature. He died at EcuUy-
Lyon, in 1860. Examples of his art are to be
found in the Museums of Rouen and Lyons.

SAINT-NON. Abb^ de, Jeax-Claude-Richarp,
draughtsman and etcher, bom in Paris in 1730.
His love for art induced him to sell his oflice in the
Legislative Assembly, and to undertake a journey of
some duration in Italy for the purpose of making
studies from the old masters. Many of these he
etched on his return to Paris. He brought out a
' Voyage pittoresque dTtalie et des Royaumes de
Naples et de Sicile,' with many plates, and also pub-
lished a series of nineteen sheets of antique orna-
ments and furniture, which had a favourable influ-
ence upon decorative taste in France. He r.sually
signed his plates S. N., or S. No. He died in 1804.

SAINT-ODRS, Pierre Pattl de, painter, was
born at Geneva in 1752. His father, a drawing
master, sent him to Paris, where he entered the
school of Vien, and in 1780 gained the Prix de
Rome with his picture of the ' Rape of the Sabines.'
Being however a Protestant and a foreigner he was
not entitled to the pension, bi-.t was allowed to
proceed to Rome some years later, under certain
conditions. Chving to bad health he returned to
his own country, wliere he devoted himself to por-
trait painting. In 1803 he won the only reward
given by the French Government in a competition
set afoot by themselves, for the best picture on the
subject of the 'Concordat.' His works are chiefly
to be found at Geneva. He died at SchafEhansen
in 1809.

SAINT QUENTIN, a French painter, and pupil of
Boucher, who flourished between 1760 and 1780,
and painted landscapes and genre pictures.

SAINT-YVES. Pierre de, historical painter,
bom at Maubert-Fontaine in 1666. He became an
Associate of the Academy in 1708, liis entrance
picture being 'Jephthali's Sacrifice' (now in the
Tours Museum). He died in Paris, March 20.
1716.

SAITER, Daniel, (Seitek, Seuter, Syder.)
painter, was born at Vienna in 1642 (1647). He
went to Italy when he was very young, and studied
for some years at Venice, under Carlo Loth. From
Venice he went to Rome, where lie studied under
Carlo Maratti. He was afterwards invited to the
court of Turin, where he painted many piictures,
among them the fresco in the Cupola of the Spednl
Maggiore. Examples of his work are also to be
found at Brimswick, Dresden, and in the Turin
Gallery. He died at Turin in 1705.

SAITER, JOHANN GOTFRIED, (Seiter, Or
Seuter, Syder,) a German draughtsman and en-
graver, bom at Augsburg in 1718. He was in-
stmcted by J. E. Ridinger and G. M. Preissler.
He lived some years in Italy, but died in the
hospital at Augsburg in 1800. Works:

Portrait of John Knpetzky, Painter.

George Philip Rugeadas, Battle Painter.

.Abraham sending away Hagar ; after C'ehsti.
A Holy Family : afttr Andrea del ^arto.
O'rist with Martha and Mary ; after L. da llnci.
The Adulteress before Christ ; after Froeaccini.
The Marriage at Caua; after P. Veronese.
The Flight into Egypt : tjfter Albano.

SAIVE, John B.Ai'Tisr de, born at Na'uur in
1540, died Aprd 6, 16:i4. He left Namur after

A BIOGRAPHICAL DICTIONARr OF

1578, settled at Brussels, and was official painter
to the Duke of Parma. In Jlay 1590 he was again
a" Naniur. In 1603 lie settled at Mechlin, became
a member of the Guild of St. Luke, and worked
there until his death. In 1594 he painted for the
Archduke six pictures represeatingthe four seasons,
and market-pieces, for which he was paid 224
florins ; and in 1597 a figure of Christ on the cross
forthe Town Hall of Namur, for which he received
£40. During the last twenty years of his life he
painted many altar-pieces for cluirclies at Mechlin
and in the neighbourhood. His style was greatly
influenced by Lambert Lombard.

Namur. Museum. .Shutters of a triptych. 1576.

Mechlin. Cathedral. David overcoming Goliath.

,, ,, The Baptism of Christ

(siyncd; his best work).
„ Our Lady on ) Triptych ; EpisoJes in the

the Dyh. j life of St. Katheriut-

(,</..«./). w. irj. v;,

SALA, George AnGUSxns, was born in New
Street, Manchester Square, London, on Nov. 24,
1828. From 1839 to 1842 he was at school in
Paris, and showed great aptitude for drawing. At
the age of fourteen he was sent to study under
Carl Schiller, a miniature painter in Charlotte
Street, Fitzroy Square. When fifteen he was
thrown on his own resources, and from 1845 to
1848 earned his living by painting scenery at the
Princess' and the Lyceum Theatres. In 1847 he
illustrated Alfred Bunn's ' Word with Punch,' and
in 1848 Albert Smith's 'The Man in the Moon.'
He then learned the art of etching, and in 1850
illustrated a comic guide-book, published by
Ackermann, with the title ' Practical E.xposition
of J. M. W. Turner's Picture, Hail, Rain, Steam
and Speed ' ; while later in the year his panorama
entitled ' No Popery ' was issued by the same pub-
lisher. In the following year Sala drew four litho-
graphic plates with views of the Great Exhibition,
and in 1852 engraved with Henry Aiken, junior, a
long panoramic roll representing the procession at
the Duke of Wellington's funeral. After this time
his work as an artist seems to have ceased, and he
devoted himself entirely to the journalistic work
which made the initials G. A. S. so famous. As art
critic of the ' Daily Telegraph ' and other papers
he wrote extensively on matters connected with
art, and used his influence for its true development.
After being for thirty years perhaps the most
pronunent journalist of his day, Sala died after a
long illness on December 8, 1895. M. H.

SALA, VlTALE, painter, was born at Cernusco,
near Brienz, in 1803, and educated at Brera, where
he painted the 'Death of Cato'; the 'Death of
Romeo and Juliet' ; and the ' Farewell of Reguliis.'
There are also works by him in the churches of
Vigevano, Novara, Bosisio, Desio, and in those of
St. Stefano, St. Lazzaro, and St. Catharine, at Milan.
He died at Jlilan in 1835.

SALAI, Andre.a. (S.iLAiNO, S.\lario). As the
favourite pupil aud constant companion of Leo-
nardo da Vinci, Andrea Salai is a very distinct
personality, but his artistic achievements remain
obscure. The late M. E. Mlintz discovered in
some documents on Hungarian history a certain
archer, Andrea Salai, who in 1461 was at Brindisi
in the service of Naples. The similarity of name
and correspondence of date give rise to the pre-
sumption that this Andrea Salai, the archer, may
have beeu the father of the artist. The first
reference to him, however, occurs in 1495 ; in 1503

there is an entry in Leonardo's accounts of a sum
for shoes : whilst later on the generous painter
provided the money for his sister's dower. In
January 1505 Salai manifested a keen desire to do
'^ qualche cosii galante" for Isabella d'Este, but the
ofler was not accepted. The Marchesa's Florentine
correspondents, however, recommended that Salai
should advise on the valuation of Perugino's
picture, 'The Combat of Love and Chastity'
(Louvre), painted for her palace at Mantua. When
Leonardo went to Kome in 1514, he (Salai) accom-
panied him, but refused to follow his master to
France, choosing rather to remain in his house
outside Milan. Half of this same property was
bequeathed to him by Leonardo, but his ultimate
fate and the time of his death is not known.
The master, out of affection for his pupil, is
said to have frequently put the finishing touches
to the latter's feebler efforts, and also allowed
him to make use of his own cartoons. It is
generally considered that the hand of Salai
appears in those pictures where rosy tones and
heavj' brown shades predominate. For this reason
the 'Madonna in the lap of St. Ann^' (Louvre),
catalogued as a genuine work of Leonardo, is now
frequently attributed to his pupil. Three well-
known replicas of this picture exist : in the Her-
mitage (St. Petersburg), in St. Eustorgio (Milan),
and at Madrid. The first of these examples is
generally assigned to Salai, to whom also are
attributed :

The Madonna with Saints. (Brera.)

Christ bearing the Cross. (Berlin.) A. W.

SALAMANCA, Antonio, a very celebrated pub-
lisher and dealer in prints, flourished about the
middle of the 16th century. He is the supposed
engraver of a plate after Michelangelo's ' Pietk.' on
which is inscribed Antonius Salamanca Quod
Potuit Imitatus Exsculpsit, 1.5.4.7. This is the
only direct piece of evidence that he practised en-
graving, but two more plates have been ascribed
to him : a portrait of Baccio Bandinelli, 1545, and
the ' Creation of Animals,' after Raphael, 1548. All
the other prints with his name have excudehat, or
excudit, instead of exsculpsit.

SALAMANCA, Geronimo de, a painter of the
16th century, practising at Seville.

SALAZAR, Juan de, a skilful illuminator of the
16th century. He is chiefly known by his work
fir the choir-books of the Escurial, and for the
mass-books of Toledo. His drawing was remark-
able for its delicacy and precision, and his colour
for its brilliance. He died at Toledo in 1604.

SALERNO, Andrea da. See Sabattini.

SALIBA, Antonello da, a Sicilian painter, who
lived in the early part of the 16th century, and
adopted the method which Antonello da Messina
is said to have introduced into Italy.

SALIMBENI, Arcangelo di Leonardo, a Sienese
master of the latter half of the sixteenth century,
who seems to have belonued to the celebrated
family of that name, but is himself chiefly known
from his friendship with Federigo Zuccaro, whose
influence is observable in his work, and from
having been the master of his more celebrated son,
Ventura, and stepson, Francesco Vanni. He com-
pleted a ' Nativity ' left unfinished by Bartolommeo
Nerooi (11 Riccio) in the church of the Carmine at
Siena, and painted pictures for the Confraternities
of San Bernardino, Sta. Lucia, an(i Sta. Caterina-
in-Fontebranda. On April '20, 1567, he married
Ba'.,tista, widow of Eugenio Vanni, mother of the

PAINTERS AND ENGRAVERS.

painter Francesco Vaniii, and daughter of Giuliano
Morelli, the Sienese goldsmith, so well known as
the friend of Vasari and Beccafumi. Tlje most
jonspicnous works of this master are the ' Death
of St. Peter M;irt}-r,' in the church of S. Domenico
at Siena, painted in 1579, and a ' Crucifixion, with
SS. JIary ilagdalen, Koch, and Francis,' in the
parish church of Liicignano at Val d'Arbia. A
lunette over the door of the suppressed con%'ent of
Monagnese, and a painting in the ante-room of the
chapel of SS. Giovanni and Gennaro at Siena are
also by him. He died in 1580. K. H. H. C.

SALIMBEXI, SiMOKDio di Ventura, was horn
in 1597, and studied under his father until the
deatli of the latter, which occurred wjien he was
sixteen years of age. He then entered the studio
of Rutiiio llanetli, whose icfluence was strong
enouah to eti'ace his earlier training, and to become
so marked that tlie pupil's work has not infrequently
been attributed to the master. A contemporary
with Stefano Volpi, Ilario Casolani, Astolfo Pe-
trazzi. Stefano Folli, and others of the late Sienese
School, he was employed in company and in
rivalry with them in decorating many of the
churches and chapels of Siena. In 1619 he
married Teodora. daugliter of Ascanio Vettori, who
brougiit him a dowry of 700 florins, and by whom
he had two children : Isabella, who on .June 14,
1646, married in tlie church of S. Pietro Ovile —
with a dowry of 350 florins — Giovaii Maria Sarti ;
and Ventura, concerning whom but one document-
ary notice, dated 1G50, is extant, and with whom
apparently this branch of the Salinibeni family
died out. Simondio appears to have resided from
August 1622 — 1625 in a house, for which he paid
254 lire rent, near the Fonte di S. Francesco, in
the parish of S. Pietro Ovile, and it was for this
church that he painted a ' Death of St. Joseph,'
still ill the sacristy there. Documentary notices
exist with reference to him in the years 1G26, 1627,
1629, and 1634. In 1632, dissatisfaction arising
with regard to a commission executed by him in
the lower chapel of Sta. Caterina-in-Fontebranda
(Contrada del Oca), he was involved in a lawsuit
which lasted until 1642. This was finally decided
against him, and his work was ordered to be
painted out. He died suddenly in 1643, and was
buried on September 8 in his parish church above
mentioned. He appears also to have borne the
additional name of BEViLACCJtiA, with which he
signs one of the five frescoes by him in the church
of S. Rocco (Contrada della Lupa), in Via
Vallerozzi, Siena. R. H. H. C.

SALIMi3EXI, Ventura di Arcangelo, son of
Arcanu'elo Salimbeni bj' Battista ilurelli, widow of
Eugenio Vanni, was born in January or February
1568, christened under the names of Alessandro
Ventura, and confirmed at the age of eight on
June 12, 1676. Together with his half-brother,
Francesco Vanni, he learnt the principles of
painting under his father. At his father's death
he travelled to Lomb irdy, and studied there the
work of Correggio. In 1585 he executed for the
fa§ade of the church of S. Giorgio at Siena, from
the design of his half-brother, the striking figure
of the p.itron saint, now preserved in the sacristy.
In that same and the following years he was at
Rome, painting various works. In 1591 he married
at Rome Antonia Focari, and in the next year
painted some scenes from the ' Life of the Virgin '
in Sta. Maria Maggiore, and other works in Sta.
Maria della Pace. In 1595 he returned to Siena,

and in 1597 was employed to restore Sano di
Pietro's beautiful ' Coronation of the Virgin ' in
the Palazzo Pubblico. In 1599 he was working at
Montalcino in the church of S. Pietro, and in 1600 —
1601 he was invited by Cardinal Bonifazio Bevil-
acqua, of Ferrara, papal legate, to Perugia to
execute certain works in the church of S. Pietro in
Cassinense. These works so pleased His Eminence
that he conferred upon the artist the title of Knight
of the Golden Spur, and permitted him to assume
his own surname ; wherefore he not infrequently
8t\ les himself Ventura Bevil-WQUA Sahmbeni. At
this time lie also carried out some decorative work
iti S. ilaria degli Angeli, near Assisi. In 1602
he completed the ceiling of the chapel of the SS.
Trinita at Siena, and of the Sala Grande of the
Knights of S. Stefano at Pisa. In the following
year he painted a figure of ' Pisa Personified ' in
the Sala Grande of the Palazzo Communale of that
city. From thence he went to Rome and worked
in the church of the Gesii, and then returning to
Siena carried out a number of commissions in
various churches there. In 1605 and 1608 he was
at work, in company with Bernardino Poccetti,
painting frescoes in the cloister of the church of
the Annunziata at Florence, for which works he
received 175 scudi. In 1606 he painted a 'Cruci-
fixion ' for the Colomhini Chapel in S. Domenico
at Siena, and, assisted by his half-brother, com-
pleted a ' Nativity ' for the church of the Refugio,
left unfinished by Alessandro Casolani, and exe-
cuted other work in the same church. In 1607 he
was again at Pisa, working in the churches of Sta.
Cecilia, S. Francesco, and S. Frediano ; and in
1608, after visiting Florence to complete his work
in the cloister of the Annunziata, he returned to
Pisa and painted a picture of 'Angels' for the
second altar in the left aisle of the Duomo. By
October 8 in that same year he was b.:ck in his
native city, commissioned to make four frescoes for
the choir of the cathedral. In 1610 he was sent for
to Rome by Cardinal Girolamo Lancellotti to paint
a ' Circumcision ' for the church of S. Simeone
Lancellotti, and on th.at occasion, through the in-
fluence of Cardinal Francesco Sforza, of S. Flora,
was created a Knight of Christ by Pope Paul VIII.
(Borghese). That same year he accompanied his
friend Agostino Tassi, the landscape painter, tn
Genoa, where he decorated the Casa Adomo ai:d
several of the churches there. Considering him-
self badly treated, however, in that city, he
returned home in 1611, and set to work to finish
his Duomo frescoes, for which he received 7,000
lire. In 1612 he designed a memorial for the
Rectors of the Hospital of S. Maria della Scala,
carried out by the sculptor Ascanio di Cortona.
After completing other work in his native city, he
died, at the early age of 46, in 1613, and, robed in
the habit of a Knight of Christ, was buried on
Novemlier 23 in his parish church of the Madonna
della Rosa. He was an able draughtsman, and a
painter of a certain amount of merit, but careless
in hi.s work and too fond of amusement. He was
also a clever engraver, and many examples of his
plates are still extant. His wife appears to have
predeceased him. He had bj' her seven children :
Simondio (born 1597) ; Isabella (born January 11,
1598 ; died, a nun, September 21, 1616) ; Alessandro
and Lucrezia (twins, born March 1,1599; Lucrezia
also became a nun under the name of Maria
Angelica dell a Concezione); Laurenzio (born August
8, 1601) ; Lucrezio ; and Maddalena (married in

A BIOGRAPHICAL DICTIONARY OF

Uj30 — with a dowrj- of 2 TO florins — Austino di
V'inetnzo da Petrojo). Of these, all except Isiibella
and Laurenzio survived their father, and were left
at his death to the care of their maternal grand-
mother, Battista Focari. Ventura Salirabeni's
pupils — besides his son Simondio — were Giovanni
Paolo Pisani, Sebastiano Folli, Bernardino Capi-
telli, and, at Genoa, Ottavio Ghissoni. He had,
however, also cert;iin imitators, among whom were
Alessandro Albini of Boh-gna (a pupil of the
Carracci), Benedetto Bandiera of Perugia, and
Oio. Battista Lombardelli deila Marca, who, how-
ever — having predeceased him in 1587 — might
be said rather to have given to than taken from
him.

Among the vast quantities of frescoes and other
works left by him, the following is a fairly repre-
sentative list :

Florence. Cloister of the '.
Annuaziata, j
Fohgno. Duomo.

Genoa. Ca^a Adorno.
„ Ch. of S. Matteo.

„ Ch. ofS. Francesco

di Paola.

Montalciuo. Ch. of S.

Pietro.

Perugia. Ch.ofS.Pielro.

Pisa. Palace of Knii/hts

of S. Stefino.

„ Palazzo Pubi'lico.

„ Duomo.

Kome. Ch. ofSta. Mana

Maij^fiore.

„ Ch. ofSta. Maria

della Pace.

„ Palazzo Doria.

Siena. Ch. SS. Ti-initA.

„ Ch.oftheSantuccio.

„ Ch. ofS, Giorgio.

„ Ch. of S. Ansano.

„ Ch. ofS. Spirito.

„ Ch. of S. Domeiiico.

„ Chapel ofSta. Cate-

rina della J'olte.

„ Ch. of <S. Quirico.

Ch. of S. Lucia.

Ch. ofS. Paolo.

Ch. of the Font e
Giusta.

Ch. of S. Pietro

alle Scale.

Chapel of the Con-

trada delV Oca.

Compayuia di S.

Bernardino.

■ Frescoes. 1605-1608.

Marri.-ige of the Virgin.

Frescoes.

Scenes from the Life of the

Saint. {Ceilinff of fourth

chapel to the left.)

■Frescoes. (Cloister.)

Tlie Gift of the Keys to St.

Peter. 1.099.
Disputa. 1600.
Crucitiiiou. 1604.
Stories of David and of St.

Gregory the Great.

Frescoes. 1602.

Pisa Tersonified. 1603. {Sala

del Commune.)
Angels. 1608. (Second altar

on the left.)
Scenes from tlie Life of the

Virgin. 1591'.

S. Simeon dei Lancellotti.

Circumcision. 1610.

St. Jerome.

Ceiling and wall frescoes. 1595.

Story of S. Galgano. 161J.

(Choir of Angels.)
St. George (lunette). 15S5.

(Sacristy. )
SS. Ansano and Micheie

(fai;ade).
Various Saints, and Story of

S. Giacinto.
Crucifixiou,with various Saint'j.

1606. (Capella VolomJnni. )
\ Scenes from the Life of that
I Saint.
Madonna. (Over the door .)
Martyrdom of SS. Quirico and

Giulitta (frisco). 1603.
The Maries at the Sepulchre

(oil). 1615.
St. Lucy, with Angels. (Over

the door.)
Sta. Francesca Romana. (Sac-

ristt/.)
\ Scenes from the Lives of the
J Virgin, S. Bartolommeo,

and the Blessed Anibrogio

Sansedoni.

I Banner. 1G03.

) Scenes from the Life of St.
j Catherine. 1604.

[Lunette. 1600. (Lower chapel.)

S. Kocco.
Duomo. Storj' of Esther.

„ Saints (two frescoes). 1603.

Siena. Palazzo Pulhlico, Frescoes. (Second room of
the Sindacd's apartments.)

E. H. H. C.

SALINCORNO, Mirabello, called also Uavalori,
flourished in 1565. He was a scholar of Ridolfo
Ghirlandajo, and was one of tlie artists .vho helped
to paint the catafalque for the obsequies of Michel-
angelo. It is uncertain when he died. Zani says
he was at work in 1578.

SALINI, ToMMASO, Cavaliere, painter, born at
Rome in 1570 or 1575, was the son of a Florentine
sculptor, who placed him under the tuition of
Baccio Pintelli, an artist of little note. He became
a respectable painter of history, and also painted
flowers and fruit with considerable success. He
died at Rome about 1630.

SALIS, Carlo, was born at Verona in 1080. and
first studied at Bologna under Giuseppe da I'Sole.
but he afterivards became a disciple of Antonio
Balestra, at Venice, whose style he imitated witij
success. His best picture is an altar-piece at Ber-
gamo, representing S. Vincenzio healing the Sick.
He died in 1763.

SALISBURY, — , was a popular painter, living
in London at tlie time of the Restoration. He was
a friend of Pepys, who mentions him several times
in his Diary, and in 1662 writes that Salisbury has
'•grown in less than two years' time so great a
limner that he is become excellent, and gets a deal
of money at it."

SALLAERT. Antonie, (Salaert, or Sallaerts,)
was born at Brussels about the year 1590. He
was inscribed, as an apprentice, on the corporation
book of the Brussels painters in 1606. His master,
Michael de Bordeau, also taught Philippe de Cham-
pagne. Sallaert was admitted master in 1613.
Sallaert enjoyed the friendship of Rubens, whose
pupil he is asserted, but without evidence, to have
been. He was Dean of the Painters' Guild in 1633-4,
1634-5, 1646-7 and 1647-8, so that his death can-
not have taken place prior to l(i48, but its exact
date is unknown. Pictures :

Brussels. Gallery. Christ's Passion ; an allegory.

n „ The Infanta Isahella at the

Shooting Feast of the'Grand-
Serment.'
„ „ The Procession of the ' Pucelles

du Sablou.*
Madrid. Gallery. The Judgment of Paris.

Papillon mentions this artist as an engraver on
wood. He usually marked his prints with the cipher

;pL* [ ATI • Sometimes with the border, some-
times without Brulliot denies that he engraved
on wood ; but a set of the Four Evangelists and
an ' Ecce Homo' bear his mark.

SALLIETH, Mathias de, was bom at Prague in
1749, and was taught engraving by J. E. Mansfeld
of Vienna, and afterwards went to Paris and worked
under J. Ph. Le Bas ; several prints by him are
in Choisenl-Goufiier's 'Voyage [littoresque de la
Grece,' ' Voyage pittoresque en France,' and ' La
Gallerie Lebrun." Subsequently he resided in
Holland, and employed himself on marine subjects
after his own designs, and after pictures by Dutch
masters. Among the best are, the ' Battle of
Nieuport' : and three others, after D. Langendyck ;
two after Kobell : one after A. Storck ; and one
after Vander Capelle. He died at Rotterdam in 1 791.

SALM, A. van. a Dutch painter of nuirines and
views in Holland, in black and white, in imitation
of pen-drawings. He lived about the middle of
the 17th century.

PAINTERS AND ENGRAVERS.

SALM, B. Nicolas, German painter and black-
and-white artist; born at Cologne in 1810, where
he first studied ; several of his drawings were
reproduced ; decorated the Giirzenich in 1835
with carnival scenes, and as a poitr.iit-painter
made some success. He died at Aachen, where
he tn.utcht drawing, in 1883.

SAL.MEG6IA, Enea, (Salmasio,) called II
Talpino, painter, was born at Bergamo about the
vear 1556, lie reuuivea iii.s iirst leaching at Cre-
"raona, under the Canipi, but afterwards became a
pcholar of Procaocini, at Milan. He also passed
fourteen years at Rome, where he applied himself
to the .study of Raphael. His pictures, of which
there are many in his native town, have much sim-
plicity and refinement. He died at Bergamo in
1626. Francesco and Ci.ara, the son and daughter
of Enea Salraeggia, imitated their father's manner.
SAL51ER0N, Cristobal Garcia, a Spanish
painter, born at Cuenca in 1G03. He was a pupil
of Pedro On-ente, and proved a reputable history
and animal painter. One of his best works is a
'Kativity,' in the church of St. Francis, at Cuenca.
He was employed by Philip IV. to paint a bull-
fight, held in honour of the birth-day of Charles II.
of Spain. He died at Madrid in 1666.

S.\LMERON, Francisco, brother of Cristobal
Salmeron, was born at Cuenca in 1608, and was
also a pupil of Pedro Orrente. His desire was to
distinguish himself as acolourist, for which purpose,
it is said, he chemically analyzed works by Titian,
P. Veronese, Tintoretto, and the Bassani. He neg-
lected the other essentials of art, and so, beside
their good colour, his pictures exhibit very great
defects. The church of S. Francisco at Cuenca has
a ' Burial of Christ ' by him. He died at .Madrid in
163-2.

SALMIER JossE, a Flemish painter, probably a
native of Mechlin, practising about 1620. He was
related to the painter David fierregouts, to whom
he gave his first lessons in art.

SALMINCIO, Andrea, engraver, was a native of
Boiogna, where he was a bookseller. He learnt
engraving from Giovanni Luigi Valesio, and pro-
duced several engra^^ngs, both on wood and on
copper, which he marked with a monogram similar
to that of Ant. Sallaert.

SALMON, Adrien Alphonse, painter, bom in
Paris ,in 1802, was a pupil of Lecourt, and entered
the Ecole des Beaux Arts in 1819. He was an
occasional exhibitor at the .Salon, and at the
Luxembourg, but was better l;nown as a restorer
of pictures. He last apjieared at the Salon in 1848.
SALMON, Jacqdes Pierre Francois, painter,
born at Orleans on the 16th August 1781, was a
pupil of Bardin and of Regnault. He was for
some time attached to the " Ecole Centrale" of the
department of Loiret, and afterwards worked for
forty-five years as a professor at the College uf
Orleans. Several views by him of scenery in the
neighbourhood of Orleans have been engraved and
lithographed. He died at Orleans on the 10th
March, 1855. The Musee of that city possesses
examples of his work.

SALMON, Louis Adolphe, French painter and
engravi-r ; born in Paris in 1806, wliere he studied
at the Beaux Arts under Henrique!, Dupont, and
Ingres ; he won the Grand Prix de Rome with his
'Academie d"apr6s Nature.' In Italy he made
several copies in water-colour of the Old Masters,
and painted portraits of Pio Nono, the Princess
Borghese, Duca di Montcbello, and others, and his

i-ngravin.;s were from originals by Angeli, Ing;res,
Rosso, Santi, Ary Scheffer, and Leonardo daViici.
He obt.ainod a second-class ni'-dal in 1853, and a
rappel in 1857, 1859, and 1863, and the L> gion of
Hnnourin 1867. He died in Paris in September
1895.

SALMSON, Hugo Frederik, was bom at Stock-
holm in 1843. He came to Paris and studied umier
Charles Comte, and also settled there. Exhibiting
regularly, at first historical subjects, then rustic
genre and landscape, and latterly portraits, often in
pastel, he has had many manners. He was created
Knight of the Legion of Honour in 1879, and OfEcer
in 1889. His 'A la Barrifere de Dalby, a Skane
(Suede) ' hangs in the Luxembourg, for which also
his ' Une Arrestation dans un Village de Picardie '
was acijuired. Other pictures by him are ' Chez
Grandmfere ' and ' La Petite Glaneuse' (Stockholm
National Museum). His studies of peasant life in
Picardy and Sweden won him popularity by their
dainty charm, capable draughtsmanship and refined
treatment, but his work shows a lack of individu-
ality. He died at Lund on August 1, 1S94.

SALOMAJSI, Geskel, Danish painter; born April
1, 1821, at Tondern, Schleswig ; studied at the
Copenhagen Academy under Eckerberg and Lund.
He subsequently visited Paris, where he worked
with Couture, and in 1860 and 1861 travelled in
.-Mgeria. His 'News from the Crimea' is in the
ijoteborg Museum, and other works by him include
' Girl with Letter,' ' Opfer der Huhner,' and others.
He also painted several portraits ; became a
member of the Swedish Academy in 1871 : was
appointed Court Painter in 1876; received the Vasa
Urder in 1869, and died in 1890.

SALOMON, Bernard, an engraver, called also
Le petit Bernard,' Bernardus Gallus, and Bernardo
Gallo, was born at Lyons (?) about 1520. Though
there is a doubt as to Lyons being his birthplace,
he certainly resided there in the last half of the
16th century, and was engaged in book illustration.
His best works were illustrations to the Bible and
to Ovid's ' Metamorphoses." He is said to have had
a son, Jean Bernard, who practised the same art as
hi.s father, and was called Giovanni Gallo, Johannes
Gallus, &c.

SALT, Henry, a draughtsman, was born about
1785 at Lichfield, where lie was also educated. He
accompanied Lord Valentia to India in 1802, and
furnished the iilustrations for the book of travels
published by that nobleman in 1809. He was em-
ployed by the Government to carry presents to
negotiate an alliance with the King of Abyssinia,
the artistic result of which was the publication of
twenty-four \-iews of Abyssinia, and the Red Sea.
In 1815 he was appointed Consul-General for
Egypt, and devoted himself to the study of the
antiquities of that country. He died between Cai-ro
and Alexandria in 1827.

SALTARELLO, Luca, (Sartarelli,) was born
at Genoa in 1610, .and was a disciple of Domenicc
Fiasella. At an early age he gave proofs of extra-
ordinary ability, but going in 1635 to Rome in
search of improvement, he there fell a victim to
his unremitting labour while still very younsr
Works •
GeDOa. San Siefano. Tlie Miracle of St, Beuedict.

„ S. Andrta, Martyrilom of St. .\udrew,

IJsbon. Tlie Trinity.

SALTER, Willum, historical anil portrait
painter, was bom at Honitou in 1804, went to
London in 1822, and became a pupil of Northcote.

A BIOGRAPHICAL DICTIONARY OF

He then went to Florence, where he painted a
picture of 'Socr.ites before the Areopagus,' and
thence to Rome and Parma, at which latter city liis
studies from Corregsjio became famous. In 1833 he
returned to England, where he painted a picture of
the ' Waterloo Banquet.' He was also employed
in painting scenes from Shakespeare, and historical
scenes from the lives of the Stuarts. Salter was
a vice-president of the Society of British Artists.
He died in London in 1875.

SALTO, Diego de, an Augustine friar of Seville,
who took the vov,'s in 1570, and devoted his leisure
to illuminating.

SALTZBURGER, P., a German engraver on
wood, who flourished about the year 1580 ; most of
his cuts are from the designs of Jost Amman.

SALVA, Carniero Joaquin de, a Portuguese
engraver, born at Oporto in 1727. He studied at
Rome, and was appointed Professor in the School
of Engraving at Lisbon, where he died in 1818.

SALVADOR OF Valencia, a Spanish painter
of the 15th century, who worked with Benozzo
Gozzoli at Rome, and was patronized by Calixtus
III., about 1450.

SALVADOR CARMONA, Manoel, was an en-
graver and designer, who was born at Madrid in
1730, and became a pupil of Dupuis in Paris. He
died at iladrid in 1807. His engravings are much
esteemed. Among the more important may be
reckoned the following:

An Allegory in houour of Charles III. of Spain ; after

Bacchu.s crowning his Votaries ; after Velazquez.

A JIadonua seated on Clouds ; after JIurillo. 1SU2.

A Madonna; after Van Dyck. 1757.

The Resurrection; after j'an Loo, 1757.

St. John the Baptist ; after Haphael Mentjs. 17S4.

The Magdalene ; after the same.

St. Ferdinand praying ; after Murillo. 1791.

Angels appeariirg to Mary Magdalene ; after Guerciiu).

Portrait of Franijois Boucher ; after Rodin Suedois.

Portrait of Collin de Vermont ; after the same.

Portrait of Charles III. ; after Raphael ilenys. 17S3.

Portrait of Don Alfonso P." de Guzman ; after Van Dt/ck.

Joseph, a Carmelite Monk ; after Velazquez.

SALVADOR GOMEZ, Ldciano, supposed to be
a brother of Vicente S. Gomez, was a pupil of
Jacinto de Espinosa. A ' St. Barbara,' in the
cathedral and a ' St. Erasmus,' in the Dominican
convent, at Valencia, are ascribed to him. He
was living' in 1662.

SALVADOR GOMEZ, Vicente, was a native of
Valencia, and pupil of Jacinto de Espinosa. At
the age of fourteen he is recorded to have painted
a series of pictures from the life of St. Ignatius
Loyola, which gained him enough reputation to
keep him fully employed in the Valentian churches
and convents for the rest of his life. He was a
skilful painter of birds and animals, also of arclii-
lecture; and his colour was pleasing. In 1670 he
was the Director of an academy held in the convent
of St. Dominic, and in 1675 he executed ten scenes
from the lives of St. Juan de Mala and St. Felix de
Valois for the choir of the church of El Remedio.
These are the only dates relating to liira which are
certainly known. His pictures are numerous.

S.4.LVAD0R, Mariano Maello, of Valencia, born
in 1739, studied painting with Gonsalez Velazquez
at Madrid. He was appointed painter to the King
and Director-General of the Academy of St. Fer-
dinand. In 1775 he was employed in Valencia,
with Bayeu, to replace the venerable frescoes of
Juan de Borgoiia in Toledo with daubs of his own.
He furnished illustrations, engraved by Salvador
:-2

Carmona, for the Infant Don Gabriel's Sallust. He
died in 1819.

SALVATORE D'ANTONIO, the author of a
panel in San Niccolo, Messina, painted at the close
of the 15th century, representing St. Francis re-
ceiving the stigmata, is thought by some to have
been the father of Antonello da Messina, but no
records of his life or death exist. The latest opinion
would make him the pupil of Antonello.

SALVESTRINI, Bartolommeo, a Florentine
painter of the 17th century, one of the most suc-
cessful imitators of Jan Bilivert. He died while
Btill young, a victim to the plague of 1630.

SALVETTI, Francesco, a minor Florentine
painter and engraver, born 1701. He was the
pupil and intimate friend of Anton Domenico
Grabbiaiii. He died in 1768.

SALVI, Giovanni Battista, called II Sasso-
I'ERRA'I'O from his birthplace in the March of An-
cona, born in 1605, the son of a painter, Tarquinio
Salvi. He is usually classed among the followers
of the Carracci, and is said to have been more
especially influenced by Domenichino at Naples.
At Rome, where the greater part of his life was
spent, he produced a large number of pictures, one
of the best being an .iltar-piece for the Dominicans
of Sta. Sabina on the Aventine, representing the
Madonna del Rosario with SS. Catherine and
Dominic ; the picture was stolen in the summer
of 1901, but was shortly after recovered and
restored to its place. His works, mostly Ma-
donnas, are very frequently met with in public
and private collections. His free copies after
Raphael, Titian, Perugino and other masters are
occasionally of great merit, being far superior to
his original works, which have all the defects of
the late 17th century, and are often chalky and
unpleasant in colour. Among his best-known
paintings are the following :

Bremen. Frau Burger- } The Bladonna in prayer. One
meister Liirman. J of the best examples of this
composition, which he fre-
quently repeated. Other
examples in London, at
Dresden, Munich, .Madrid
and elsewhere.

Sleep of the Infant Saviour.
Other examples at Madrid,
Paris and elsewhere.

His orni Portrait.

The Immaculate Conception.

The Workshop of St. Joseph.

Adoration of the Shepherds,

The Cruciiixiou.

Dresden.

Florence.

Milan.

XapU'S.

Gallery.

Uffizi.

Brera.

Jlusemn.

North Cray, Kent,

Other works at Berlin, Brussels, Cassel, Frank-
fort, the Hague, Rome, St. Petersburg, Venice,
Vienna, &c.

SALVI, Tarquinio, a Roman painter of the 16th
century, of whom little is known. He was a native
of Sassoferrato, and the father and first teacher of
Giambattista Salvi, called Sassoferrato. His only
recorded work is a large ' Rosario,' in the Eremitani
at Rome. It is signed and dated 1553.

SALVIATI, Francesco. See Dei Rossi, Fran-
cesco.

SALVIATI, Giuseppe. See Porta.

SALVIATINO. See Dei Rossi, Francesco.

SALVIN, Anthony. The exquisite quality of
the [lencil and pen-and-ink drawings made by this
architect demand that he should find a place in
' Bryan's Dictionary.' His work as an architect was
of very high merit, aud many notable buildings
stand as his memorial. Perhaps one of his greatest

GIOVANNI BATTISTA SALVI

IL SASSOFERRATO

Alinari photo]

[Uffizi Gallery, Floreiui

PORTRAIT OF THE ARTIST

GIOVANNI BATTISTA SALM

IL SASSOFERRATO

Anderson flioto]

[CIniicli of SIli. Siiliin,!. Jii.inui

MADONNA DEL ROSARIO

PAINTERS AND ENGRAVERS.

works was the rebuilding of the keep of Alnwick
Castle, and next to that miiy be mentioned the
erection for Lord Tollemache of a castle at
Peckfortoi). The work of restoration and repair
entrusted to him includes important repairs in the
Tower, at Windsor Castle, and to the mined
castles of Carisbrooke, Carnar%"on, W'arkworth,
Alnwick, Graystoke, Dunster, and Brancepeth.
He came of an important Durham family, and was
particularly interested in tlie fortified castles of
ins own and neighbouring counties, and was led
by the study of these buildings to become in his
time the greatest authority on such erections.
When his architectural work was in hand he
devoted considerable time to the preparation of
very remarkable drawings of ancient ruins, and to
other illustrations, showing them as he conceived
they originally were. He resided in London for a
considerable part of his life, but retired in 1804 to
a house he built near Haslemere, known as Hawk's
Fold, and there it was he died in 1881, in the
eighty-second year of his life.

SALVIONI, KOSALBA JIaria, painter, was bom
at Kome in the 17th century. Sue studied under
Sebastiano Conoa, and in 1730 was admitted an
lionorary member of the Acaderaia Clementi of
Bologna. In the church of tlie Minorites at
Frascati there is a ' St. Catharine ' b}- her.

SALVOLINI, GiDSTiNO de, called also Episcopio,
a painter of the 16th century, belonging to the
Roman school, but practising chiefly in his native
town of Castel Durante, where he painted in col-
laboration with Luzio Dolce.

SALWAY, N., an English mezzotinter, who
flourished about the year 1760. He engraved some
portraits, which are not without merit.

SALY, Jacques Franqois Joseph, (Saillt,) a
famous French sculptor, born at Valenciennes in
1717, was a pupil of Coustou. He is mentioned
here as the etcher of thirty designs for vases, and
of four for monuments. He was Director of the
Academy in Copenhagen. In 1774 he went to
Paris, where he died in 1776.

SALZEA, De. See De Four.

SALZER, Friedrich, landscape painter, born at
Heilbronn in 1827, was instructed in the principles
of his art by Bauniann, but afterwards went to
Munich. He painted the backgrounds for the
battle-pieces of Kotzebue. There is a Winter-piece
by him in the Gallery of Stiittgart. In 1863 he
gave up art on succeeding to his father's business,
and died at Heilbronn in 1876.

SAM, Engel, (or Anoelo.) bom at Rotterdam in
169y, was a good portrait painter, but excelled
chiefly in genre. He imitated the manner of Van
der Werfi, and, it is said, painted a ' Flight into
Egypt' so perfectly resembling the work of that
master, that even experts were deceived by it.
It is also said that he imitated Metsu. He died
at Amsterdam in 1769.

SAMA.CCHIN1, Orazio, painter, was born at
Bologna in 1532, and, according to Malvasia, was
the pupil of Pellegrino Tibaldi. He afterwards
studied the works of Correggio, and was employed
to paint in fresco the great chapel in the cathedral
of Parma, contiguous to the famous cupola by that
distinguished master. He went to Rome in the
pontificate of Pius IV., by whom he was employed,
in conjunction with IVlarco da Siena and others, in
the decorations of the Sala Regia. The Dresden
Gallery has a • Holy Family ' by this artist.
Samacchini died at Bologna in 1577 Works :

Bologna. .W. Xarbon-e e Felice. Coroaation of the Virgiu

„" .S'. Giacomo Magyiore. Puri ficatiou of the Virgiu-

„ Certosa. Last Supper.

„ La Trintta. Grucifixioii.

Pal. Lamhertini. The Fall of Icaru?.

Cremona. 5. Abhondio. Frescoes on the vault.

SAMANIEGO. Mariana. See Silva Bazan.

SAMBACH, Fr.«z Kaspar, painter, was _ horn
at Breslau in 1715, received his instruction in art
from Reinert and de I'Epee, and at Vieima under
Donner. In 1762 he became Professor of Architec-
ture ; and in 1772 Director of Painting in the same
academy. He painted feigned bas-reliefs in the
style of Geeraerts and Jacob de Wit. He also
executed some frescoes for the Jesuits' church at
Stuhlweissenburg, and an altar-piece for the
Franciscan church at Camischa. He died at Vienna
in 1796.

SAMELING, Benjamin, painter, born at Ghent
in 1620, was brought up in the school of Franz
Floris, in whose style he painted historical subjects
and portraits. The church of the Jansenisis at
Ghent has several works by him after drawings by
Lucas de Heere. He died at Ghent in 1614.

SAMENGO, Ambrogio, a Genoese landscape
painter of the 17th century, the pupil of Gioy.
Andrea Ferrari. His works are few and scarce, in
consequence of his early death.

SAMMARTINO. See San IMartino.

SAMMET-BRUEGEL. See Brdegel, Jan.

SAMSON, Jean, a French historical painter of
the ,16th century, who, in 1633, Avas engaged in
work for the chateau of Versailles.

SAMUEL, George, landscape painter, was an
exhibitor at the Academy from 1786 to 1823. He
painted a ' View of the Thames from Rotherhithe
Stairs,' during the frost of 1789. He was killed by
a wall falling on him, soon after 1823.

SAMUEL, Richard, portrait painter and en-
graver, was an exhibitor at the Academy from
1772 to 1779. There is an engraving after him of
' Nine living Muses,' including Mrs. Sheridan, Mrs.
Montagu, Angelica Kauifman, etc. In 1773 he
gained a prize from the Society of Arts for an im-
provement in the method of laying mezzotint
grounds.

SAN ANTONIO, Frat BARTOuuife de, was born
at Cienpozuelos in 1708. At the age of fifteen he
took the habit of the order of the Trinitarios des-
calzos, and after studying philosophy and theology
went to Rome to study painting, of which he had
acquired the elements at Madrid. He remained in
Italy six years, and in 1740 returned to his convent
at Madrid, which he enriched with an immense
number of his productions. About this time the
Academy of S. Fernando was established, for which
he painted an allegorical picture representing
'Ferdinand VI. and the Catholic Religion.' for
which he was received as a member of that body.
The church of the Trinitarios, at _ Madrid, also
possesses many of his works. He died on Febru-
ary 8, 1782.

SAN BERNARDO, II Vecchio di. See Min-

ZOCCHI.

SANCHEZ, Alonso, one of three artists employed
to paint frescoes at the university de Alcala de
Henares, by command of Cardinal Cisi;6ros, the
founder. He was also employed, with live others,
in the embellishment of the cathedral cloister at
Toledo, for which he was p.aid in 1498. In 1608
he was again employed in the same cathedr:.! with
Diego Lopez and Luis de Medina.

A BIOGRAPHICAL DICTIONARY OF

SANCHEZ, AXDi'.ES, ;•. native of Portillo, near
Toledo. He was a pupil of Theotocopnli, called
II Greco, and was commissioned in 1600 by the
delegate of the Franciscan missionaries to paint
certain pictures for the churches built by them
in the Spanish colonies.

SANCHEZ, Ci.EME.N'TE, painter, was living at
Vall.-hiolid in 1620. He painted several pictures
for the Dominicans of Annda de Duero.

SANCHEZ-COELLO, Alokzo, was born at Beny-
fiiyro, in Valencia, in 1513 or IblJ. From his style
he appears to have studied in Italy, for his design
resembles that of the Florentines, while in colour
he follows the principles of the Venetians. In
lo-il he resided at Madrid, where he formed an in-
timacy with Sir Antonio Mor, wliom he accom-
panied to Lisbon, when the latter was sent by
Charles V. to paint the portraits of the royal
family. Sanchez entered into tlie service of Don
John, who had married Joanna, the daughter of
Charles and sister of Philip II. , and made a con-
siderable stay at Lisbon. At the death of Don
John his widow recommended Sanchez to her
brother Philip, who at once received him as his
painter in ordinary when Mor made his sudden
flight from Spain. He painted many portraits of
Philip and of other members of the royal famil}'.
He also painted the Popes Gregory XIII. andSixtus
V. : the Dukes of Florence and Savoy ; Cardinal
Farnese, biotlier of the Duke of Parma ; and many
grandees of Spain. With such patronage he became
rich, and, it is said, lived according to his fortune.
In 1570 he painted, in cunjunction with his disciple,
Diego de Urbina. the triumphal arch erected at
Madrid for the entry of Anne of Austria, the wife
of Philip II. In 1573 he entered into an engage-
ment to decorate with suitable subjects the i)rin-
cipal altar of the church del Espinar, executed by
the celebrated Francisco Giralte, and for which he
painted what may be tenned a drop-scene, to serve
as a screen during the two last weeks in Lent.
Notwithstanding his advanced age Philip employed
him in 1682 in filling the Escurial with pictures.
For this palace-monastery he painted ' St. Paul,
the first hermit, with St. Anthony ; ' 'St. Stephen
with St. Lawrence ; ' 'St. Vincent with St. George ; '
' St. Catharine with St. Inez ; ' ;md 'St Justus and
Pastor,' in which he introduced a view of Alcala
de Henares, and the scenerj' about it. About this
time he painted the portrait of his fjiend, Father
Siguenza, which is considered a c/iej'-d'oettwe. and
has been finely engraved by Ferdinand Seluia; and
in 1582 that of Ignatius Loyola, from casts taken
twenty-nine years previously, and from instructions
by Father Ribadeneyra. Notwithstanding all this
success, however, Coello was but a second-rate
artist. He died at Madrid in 1590. Of his works
we may name :

London. Xat. For. Oal. Full-length portrait of Philip 11.
Tiladrid. Ma!>eum, Portrait of Don Carlos.

,, „ Eugenia and several other

Infantas.

„ „ The JIarri.ige of St. Catharine.

Vienna. Gullen/. A Spa!ii.<ili Lady.

SANCHEZ-COELLO, Isabella, who was born at
Madrid in 1564, was instructed by her father, Alonso
Sanchez Coello, and distinguished herself as a
painter of portraits, which are not now, however,
to be identified. She was also eminent in poetry
and music, and highly esteemed for her personal
character. She married Francisco de Herrera, and
died at Madrid in 1612.

SANCHEZ-COTAN, Fray Jua.n-, an eminent
Spanish painter of Madonnas, flowers, and still-
life, was born at Alcazar de San Juan in 1561 . he
was the son of Bartolom^ Sanchez-Cotan, and Ap.-.
de Quinones. He studied at Toledo under Bias de
Prado, whose style he imitated, and under him
made great progress in art. At first he painted
bodi'jmies, subjects like those of Jan Fyt, but in
1604 he became a professor of the Chartreuse of
Paular, and painted subjects from Christ's Passion,
the sorrows of the Virgin, and particularly Madonnas
crowned with chaplets of flowers ; all these he
devoted to the decoration of his convent, or
bestowed on his brethren for their private oratories.
From Paular Sanchez-Cotan was removed in 1612
lo the royal Chartreuse at Granada, for which he
painted the principal historical pictures in that
monaster3'. It is related by Palomino that he
painted a Crucifixion for the refectory of the con-
vent, 80 deceptive in its appearance that birds at-
tempted to perch on the cross ; and Cean Bermudez
confesses that he, at first sight, mistook it for a
piece of sculpture. Vincenzo Carducci made a
journey from Madrid to Granada to see his works.
Sanchez-Cotan died at Granada in 1637.

SANCHEZ-D'AVILA, Andkes, painter, was bom
at Toledo. He went to Paris in his youth, and
afterwards established himself as a portrait painter
at Vienna. He died in 1762.

SANCHEZ DE CASTRO, Juan, of Seville, founder
of the school of Andalusia, was born in the first
half of the 15tli century. In 1454 he painted
pictures for the old Gothic altar, in the chapel of
San Josef in Seville cathedral. For the church of
San Julian he executed a St. Christopher in fresco,
whicli was repaired in 1775, little but the signature
being left of the work.

SANCHEZ, Luis, is known only as having de-
signed in 1611 the title-page of a book called • De la
Veneracion que se debe a las reliquias de los santos.'
engraved by Pedro Perret, and published in Madrid.

SANCHEZ, Manuel, a priest of Murcia, who
was practising as a painter in 1731.

SANCHEZ, Pedro, a Spanish painter, who was at
work in Toledo cathedral in 1462.

SANCHEZ SARABIA, Diego, an architectural
draughtsman and painter of familiar subjects, was a
member of the Academy of San Fernando in 1762.
By desire of that body he made drawings of the
Alhambra and of the Palace of Charles V.,at Granada.
These are now in the Academy. Sauchez Sarabia
died in 1779.

SANCHO, Esteban, a Spanish painter, known
as Maneta, from his having lost his right hand.
He was a native of Majorca, and a pupil of Pedro
Ferrer, and painted many pictures for tlie churches
of his native island. He died in 1778.

S.\N CLERICO, , an Italian scene-painter

and decorator of much repute, practising in 1823.
A good example of his work is the ceiling of the
Casino degli Negozianti at Milan.

SAN DANIELE, Battista da, was a Dalmatian,
living at Udine and San Daniele, in the middle of
the 15th century, and was the father of Martino da
Ddine, surnaraed Pellegrino da San Daniele. No
paintings by liim are now extant, but records exist
to prove that in 1468 he contracted to paint a cur-
tain-fall for the church of Comerzo, and in 1470 an
altar-piece with four figures for the brotherhood of
San Daniele di Cnstello. (Crowe and Cavalcaselle.
' Painting in N. Italy.')

SANDAKS, Thomas, engraver, sou of a painter

PAIXTEKS AND ENGRAVEKS.

ol' UottiTiiam, went to London, ami became r>
member of the St. Martin's Lane Academy. He
etched the ' Italian Fisherman,' after Yernet, and
drew and engraved fifteen views of market towns
in Worcestershire. He eshibited at the Academy
down to 1775.

SANDBERG, Johann Gdstaf, a Swedish
painter born in 1782. In tlie Stockhohn Gallery
there are three pictures by him — a ' Gustavus
Adolphus II. at the battle of Stuhm,' and two single
figure pictures. He died in 1854.

SAJvDBY, Paul, was born at Nottingham in
1725. He came to London when he was sixteen
years of age, and having shown an early inclin-
ation for art. he obtained an introduction to the
draughtsmen's room at the Tower. He had studied
there about two years when the late Duke of Cum-
berland, wishing to have a survey made of the
north and M-est parts of the Highlands of Scotland,
young Sandby was engaged as draughtsman, under
the inspection of Mr. David Watson. In company
with that gentleman lie tra%-elled tlnough that most
romantic countrj-, and, though the leading object
of his tour was the drawing of plans, in his leisure
hours he made many sketches of the scenery
which surrounded him. From these designs he
made a number of small etchings, which were
published by Messrs. Kyland and Bryce. Soon
after his return from his northern tour, about tlie
j'ear 1752, he passed some time with his brother at
Windsor, and during his resideiice there made a
great number of drawings of views about Windsor
and Eton, which were immediaiely purchased by
Sir Joseph Banks at good prices. Sandby was
ii;vited to accompany that gentleman in a tuui
through North and South Wales, and was employed
by Sir Watkin M'illiams Wynne to make dr.iwings
of the picturesque scenery in that co.intry. Sandby
was the first to infuse nature into topographical
drawing ; his jiredecessors had been too nmch ac-
customed to compose from prints after the " black
m: sters," but he looked at nature with a franker
eye. To his other acquirements Sandby added
etching and engraving in the style known as aqua-
tint. He was, perhaps, the first English artist who
adopted this style, the secret of which, it is said,
was brought into England by the Hon. Charles
Greville, who purchased it from Le Prince, a
French artist, and communicated it to Paul Satidby.
His works in aquatint are very numerous, and were
popular at the time they were published. In 1768
he was appointed chief drawi7ig-ma6tcr at the
Woolwich Military Academy, wliich post he re-
signed in 1799. He died in London in 1809.
Works :

An Aiicieut Beech True. vVoulA Kensinyton.)

Llaufhiif Cathedral, (/to.i

The Eouud Temple. (7'...)

Landscape, witli Dray and Figures. {Do.)

Chepstow Castle. {iJu. >

"Warwick Ca.=itle, with ]iri(ige aud 'Weir. (Do.)

Village Street. IDo.)

SANDBY, Thomas, brother of the aquarellist,
Paul Sandby, was pre-eminently an architect, but
claims mention as a clever draughtsman, of great
artistic feeling. He was born at Nottingham in
1721, and was, like his brother, first employed ns a
military draughtsman. In this capacity he held an
appointment under the chief engineer in Scotland,
aud rendered the Government the service of giving
the first intelligence of Prince Charles Edward's

landing in 1745. He was subsequently appointed
draughtsman to the Duke of Cumberland, whom he
accompanied to Flanders, and Deputy-Hanger of
Windsor Park. He published eight drawings illus-
trating improvements made by him in the park,
and many other drawings by him are in the royal
collection at Windsor, in the British Museum, and
i 1 the Sloane Museum. He died at the Ranger's
House at Windsor, on the 25th June, 1798.

SANDE-BACKHUIZEN. See Backhuizen,
Hendrik.

SANDER, Johann Heinrich, painter, oorn at
Hamburg in 1810, painted sea-pieces and landscapes,
:ind made a hit with a ' View of Heligoland.' He
died in 1865.

SANDERAT, Etienne, a Freneli miniaturist of
the 15th century, known as having produced in
1447, for Jean de Chalon, Seigneur de Vitteau, the
• Proprietez des Choses,' illustrated with fifty
miniatures.

SANDERS, Catharina, called Van HiiSi.-^ssEN. or
Heemsen, was the daughter and pupil of Jan San-
ders. She married Christian de Murien, the organist
of the church of Notre Dame at Antwerp. He was
a musician of repute in the Low Countries, and
known generally as Christinano. He resigned his
post in 1556, and the pair accompanied Mary of
Hungary to Spain. Catharina painted portraits of
small size. A tine example of tnese is to be seen in
the Loudon National Gallery. It represents a fair-
haired man dressed in black. In 1868, there was
in the possession of il. Lescart, lawyer at Mous, a
' Virgin and Child,' with a background of snowy
landscape, painted on panel, and signed, Caterina
de Hemisstnt pinrjebat. The dates of her birth and
death are unknown.

SANDERS, (or Sandbes,) Frans, a Flemisli
painter of the 16th century, who, in 1526, painted
a ' Last Judgment ' for the ' Salle des Plaids ' of
the Grand Council of Mechlin. In Margaret of
Austria's Collection there was a ' Little Madonna '
by him, which Albrecht Diirer greatly conunended.

SANDERS, George L., miniaturist, was born at
Kingliorn, in Fifeshire, in 1774. He studied under
Smeatuii, a well-known coach-painter in Edinburgh,
and then devoted himself to miniature painting
and giving drawing lessons. He also produced a
i'anorama of Edinburgh. In 1807 he went to
London and painted numerous nuniatures, among
them the Princess Charlotte, the Duke nf Cumber-
land, Prince George, Lady Clementina Villiers, and
Lord Byron. About 1812 he turned his attention
to life-size portraits in oil, in which also he had
:,''reat success from the commercial point of view.
He frequently visited the continent, whence he
brought home manj' excellent drawings from the
Old Masters, tueniy-sis of which now hang in the
Scottish National Gallery. His portraits are common
in English country-houses, but few have yet found
their way into public collections. He died in
London in 1846.

SANDERS, Gerard, painter, born at Wesel, in
Holland, in 1702, was the pupil uf his father-in-law,
Tobias van Nymegen, whom he accompanied to
Uiisseldorf, and there continued his studies. He
afterwards was associated with his uncle, Elias van
Nymegen, at Rotterdam, in producing designs for
tapestries. lie died in 1767.

SANDERS, Jan, called Van IIemessen, or Heem-
sen, a Flemish painter of the 16th century, was
born at Hemixem, near Antwerp. He was a member
of an artist family of tome repute, as to whom litt;e

A BIOGRAPHICAL DICTIONARY OF

was known until the researches of recent writers
threw some light upon their history. It is now
established that Jan Sanders was a pupil of Hendrik
van Cleef, the elder, in 1519, at Antwerp, and that
in 1535 — 1537 he had himself set up an atelier
for pupils in that city. In 1547 — 1548 he was
Dean of the Society of Saint Luke. By his wife,
Barbe de F&vre, he had two daugliters, Christina
and the Catharina mentioned above. Towards the
close of his career he migrated to Haarlem, where
he settled. A certain similarity between his style
and that of Quentin Matsys has caused it to be
surmised that he was a pupil of that artist. His
dates of birth and death are unknown, but Guic-
ciardini, in his work published in 1666. speaks
of him amongst deceased artists. The following
works by liiiu are known :

Antwerp' Museum. The Calling of St. Matthew.

Munich. Pinakotliek. A Holy Family. 1541.

„ ,. Isaac blessing Jacob.

„ The Calling of St. Matthew.

Paris. Louvre. Tobias curing bis Father's

Blindness. (Dated 1555.)
Vienna. Gallery. The Calling of St. Matthew.

{Three versions.)

„ „ St. 'SVilliam.

„ „ St. Jerome.

SANDERS, John. It is not possible to state
with absolute certaintj- who this artist was, but he
is believed to have been the son of a pastel painter
named John Saunders, who lived at Stourbridge,
and to have adopted a different spelling for his
name to that used by his father. He appears at
the Royal Academy Schools in 176'J, winning a
silver medal in the following year, and in 1771 '
sending in pictures for exhibition. Even those
that are accredited to him may possibly have
been the work of his father, as in 1775 one edition
of the catalogue of the Royal Academy describes
hhn as "John Saunders, Junior." in 1778 he I
was living at Norwich, and in 1790 at Bath, and I
during those years his name was certainly spelt |
without the " u." Fanny Burney refers to his j
portrait of Princess Charlotte of Wales, and in the
houses about Bath there are several clever portraits
attributed to his hand. If he was the son of John
Saunders he was probably born in 1750 ; he
certainly died near Bristol in 1825, and he left one
son.

SANDERS, John, painter, practised in London,
and exhibited at the Academy a picture of St.
Sebastian in 1772, and a ' Jael and Sisera' in 177o.

SANDEliS, John, probably the son of the last-
named John Sanders, exhibited at the Academy
from 1775 till 1820.

SANDERS, John Arnold. This man was the
son of John Sanders, and was born at Bath about
1801. He executed a few clever water-colours of
landscapes, and some admirable portraits in pencil,
tinted with colour. He also tried miniature paint-
ing, but when about thirty years old got into
some difficulty with regard to one of his pupils,
emigrated to Canada, and was afterwards lost sight
of.

SANDFORD, Francis, an Irish heraldic artist,
born in County Wicklow in 1630 of a father who
was an architect and builder of fortifications. He
became a pursuivant at Heralds' College in 1661,
and a Herald in 1676, but after the flight of
Jaujes II. he sold his office at the College of Arms
to the nest person on the roll, and retired to a
small house in London, much dissatisfied with
political events. Four years afterwards he died

in Newgate Prison, where he had been confined
for debt in January 1694, and all memory of his
beautiful drawings, his copper-plate engravings,
and his genealogical works, seems by that time to
have been forgotten, so that he was buried as a
poor man, and under somewhat distressing circum-
stances. His great work is the 'Genealogical
History of the Kin^s of England,' which he
illustrated with very remarkable arnmrial en-
gravings, and besides that he jToduced half-a-
dozen other important heraldic works. He was
strongly attached to the Stuart monarchs, carrying
his enthusiasm for thom almost to the extent of a
cult. He was an earnest Catholic, and had the
greatest hatred of the rebellion that brought over
William III., and it was probably owing to his
religion and his politics that he was neglected in
BO scandalous a I'.ianner.

SANDHAAS, Karl, painter, born at Haslach, in
Baden, in 1801. After some preliminary study at
Carlsruhe, he went in 1820 to Munich, where he was
for a time the pupil of Cornelius, and completed
his art education at Milan. In 1822 he settled in
Frankfort, painting chiefly devotional works from
the New Testament history. He also etched a
set of four fanciful plates in 1844, published under
the name of 'Triiume und Scliiiume des Lebens,'

SANDORS, Thomas, Dutch engraver, who settled
in London soon after the middle of the 18th century.
Joining the St. Martin's Lane Academy, he ex-
hibited there till 1775. There are some views of
Worcestershire engraved by him (1777-81).

SANDRART, Jakob von, a nephew of Joachim
Sandrart, was born at Frankfort in 1630, and was
instructed in engraving by Cornelius Danckerts and
Willem Hondius, under whom he worked first at
the Hague and aftem-ards at Dantzic. He engraved
a great number of plates, which are executed with
the graver in a clear, neat style. His best prints
are his portraits, among which are the following:

The Emperor Endolph II.

■ Ferdinand II.

— — - — ■ Ferdinand III.

Frederick, Prince of Morway.

Sophia, Electoral Princess of Saxony.

Ferdinand Maria, Duke of Bavaria.

Joachim Sandrart ; inscribed Seciili iwstri ApelUs.

Joannes Paulns Auer. Painter.

Nagler has given a full list of his plates. He died
at Nuremberg in 1708.

SANDRART, Joachim von, painter and writer
on art, was born at Frankfort in 1606, and w-as in-
structed in the rudiments of design by Matthaus
Merian and Theodorus de Bry. At the age of fifteen
he went to Prague, where he worked for a time at
engraving under Gillis Sadeler, who recommended
him to exchange the graver for the brush. Sandrart
then went to Utrecht, where he became a disciple
of Gerard Honthorst. It is said that when Hunthorst
was invited to Engl.and by Charles L, be engaged
Sandrart to accompany him, that the king bespoke
many pictures of hira, that he copied the portraits
of Henry VIII,, Sir Thomas More, Erasmus, and
others, by Holbein, for the Earl of Arundel, and
that he remained in England till 1627, when he
went to Venice. This however appears rather
doubtful, though it is certain that he passed several
years in Italy, and at Venice copied the finest
pictures of Titian and Paolo Veronese. From
Venice he went to Rome, where he resided some
years, and was much employed by the Cardinal
Barberini and the Prince Giustiniani, and was

PAINTERS AND ENGRAVERS.

intrusted by the latter with the superintendence of
the engraving's from statues in his gallery. Frona
Rome he visited Southern Italy, returning to Ger-
inany in 1637. Afterwards he spent some time in
Amsterdam, but in 1649 went to Nuremberg to
paint a picture of the Peace Congress, which con-
tained fifty portraits. In 1672 he went to Augsburg,
where he was employed in several considerable
works for the Emperor Ferdinand, and for Maxi-
milian, Duke of IBavaria. In his last years he
resided at Nuremberg, where he established an
academy, and composed several works on art.
These were, ' AcademiaTedesca della Architettura.
Soultura, e Pittura ; ' &c., 4 vols, in 2, folio, Niirn-
berg, 1675-79; ' Iconologia Deorum, 1680;' ' Ad-
miranda Sculptun-e Veteris Vestigia, 1680 ; ' ' Romse
antiquae etnuvfe Theatrum, 1684 ; ' and ' Academia
Artis Pictoriffi, 1683,' collected from Vasari, Ridolti,
and Van Mander. But this is a Latin translation of
what had already been publislied in the ' Academia
Tedesca.' A uniform edition (in German) of all his
works was published at Niirnberg, 1769-75, in 8
vols, folio. He died at Nuremberg in 1688. Works :

Augsburg. Ch. ofS^inna. Clirist iu the Temple.
Munich. Pinakothek. Portrait of a AVoman in Black.

"Wurzburg. Cathedral, Descent from the Cross.

SANDRART, Johann Jakob von, the son of
Jakob von Sandrart, was bom at Ratisbon in 1655.
He learned the first rudiments of design from his
father, and profited by the lessons of Joachim von
Sandrart, his great uncle. He was an able designer
as well as an engraver, and possessed a ready and
inventive genius. We have some neatly executed
portraits by hira, and the publications of Joachim
von Sandrart are embellished with his spirited
etchings. He also engraved several plates for a
work entitled ' Suecia Antiqua et Hodiema.' He
died at Nuremberg in 1698. The following are his
principal independent prints :

Elizabeth, Princess of Brandenburg ; after A. Le Clerc.
Silvius Jacob von Dunkelmann ; after the same.
The Holy Family ; after Joachim von Sandrart.
The Origin of Painting ; two plates, after the same.
The Customs of the ancient Germans ; two plates, after

the same.
..S^neas saving Auchises ; fro7n his own design.

SANDRART, Lorenz von, was probably of the
same family as the other artists of the same name.
His name is affixed to the frontispiece for a set of
prints from Ovid's ' Metamorphoses,' by Engel-
brecht, published in 1700. It is also believed that
he was a painter in enamel, and was still living in
1710.

SANDRART, Susanna Mabia von, the daughter
of Jakob von Sandrart, was born at Nuremberg in
1658, and instructed in design and engraving by
her father. She executed several plates for the
publications of Joachim von Sandrart. She married
the painter Hans Paul Auer, in 1683, and after his
death the bookseller W. M. Endter of Nuremberg.
She died at Nuremberg in 1716. We have the fol-
lowing independent prints by her :

The Feast of the Goiis ; after Raphael.

The Nozze Aldubramlini ; after a design by Bartoli.

A Bacchanalian subject ; inscribed Immoderatum dulce
Amorum.

SANDREUTER, Hans, Swiss painter ; born at
Bale in 1850. His works show the influence of
Bocklin, whom he has been accused of imitating.
Of this we have evidence in his ' Rebecca,' ' An
der Himmelspforte,' ' Dolce far niente,' &c. His
VOL. V. o

• Landscape near B41e ' is now in the Dresden
Gallery. He died at Rieken, near Bale, June 1,
1901.

SANDRINO, Tommaso, bom at Brescia in 1575,
excelled in perspective and architectural views, and
was not unsuccessful in history. His principal
works are the ceilings of the churches of St. Faus-
tino, S. Domenico, and the cathedral, at Brescia.
There are also several of his works in the public
buildings of Milan and Ferrara. He died in 1630.

SANDWYK, Frans van, painter, born at the
Hague in 1641 or 1642. He was a pupil of Nicholas
Wieling, and a member of the Pictura Society.
Later, he became a military engineer in the service
of the States, and was killed in battle.

SANDYS, Antony Frederick, A.N., generally
called Frederick Sandys, sometimes F. K. Sandys
from his habit of signing the name Frederick
thus, "Fk. Sandys." This clever artist was bom
at Norwich in 1832, and educated at the Norwich
Grammar School, applying himself at a very
early age with earnestness to drawing and paint-
ing. He never attended the Royal Academy
Schools as has been stated, and was not a pupil
either of Richmond or Lawrence. Lawrence
he never met but for a few minutes, and his
acquaintance with Richmond was only as that of
a family friend, and never the relationship of pupil
and teacher. His early life is said to have been
influenced by the work of Jlenzel, but this also is
an error, as never but once did he see illustrations
of the work of this artist, and he himself stated
that they made no impression whatever upon him.
His education in art was entirely the work of local
Norfolk art teachers and his own streimous in-
dustry when he came to London and worked on
his own account, copying pictures in the National
Gallery. His earliest exhibit at the Royal Academy
was in 1851, before he was twenty-one years old,
when he sent in a crayon portrait of Lord Henry
Loftus, following it in 1854 by a smaller one of
the Rev. Thomas Freeman, of Norwich. In 1856
he sent in two crayon portraits, one an anonymous
one, and the other representing the Rev. Thomas
Randolph. His first exhibits iu oil were two
pictures sent in 1861, one called ' Oriana,' and the
other a portrait of Mrs. W. H. Clabburn, of Thorpe,
Norwich. It was about this time that he com-
menced to do some illustrations for periodicals,
and his first drawing was entitled ' Portent,' done
for the 'Cornhill Magazine' in 1860. In 1861 he
commenced to work for 'Once a Week,' and during
that and the following year produced eleven im-
portant illustrations as follows : — ' Yet once more
on the Organ Play,' 'The Three Statues of Ar-
gina,' ' From my Window,' ' Rosamond, Queen of
the Lombards,' ' The Sailor's Bride,' ' The King at
the Gate,' ' Jacques de Gauraont,' 'The Old Chart-
ist,' ' Harald Harfagr,' ' The Death of King War-
wulf,' and ' The Boy Martyr.' In the same year
he did ' Manoli ' for the ' Cornhill Magazine,' and
'Until Her Death' for 'Good Words.' His ex-
hibits in the Royal Academy in 1862 were various.
There were two pictures in oil, Mrs. Clabburn,
senior, and ' King Pelles' Daughter bearing the
Vessel of the Holy Grail,' one in crayons of Mrs.
Doulton, a pen-and-ink drawing of ' Autumn,' and
another of Mrs. Anderson Rose. In 1863 his
drawing for ' Sleep ' appeared in ' Good Words,'
and 'The Waiting Time' in the 'Churchman's
Magazine,' while to the Academy he sent in three
oil portraits, one representing Mrs. Anderson Rose,

A BIOGRAPHICAL DICTIONARY OF

the same lady whom he had exhibited in pen-and-
ink in the previous year, a picture of most marvel-
lous execution, and two fancy portraits called
'Vivien' and 'La Belle Ysonde.' The oil portrait
that was perhaps his greatest achierement was
seen at the Academy in 1864. It was called 'A
Portrait,' but represented Mrs. Jane Lewis, of
Roehampton, and was a most wonderful example
of elaborate miniature manipulation, almost perfect
in its execution. With it he sent an oil picture
called ' Morgan Le Fay,' and a pen-and-ink draw-
ing of ' Judith.' Two oil pictures appeared in
1865, ' Cassandra,' and ' Gentle Spring,' and u
grand illustration in the ' Shilling Magazine,' called
' Amor Mundi.' In 1866 his notable oil paintin^r
of 'Lady Rose' was exliibited, and his work ap-
peared in the 'Argosy,' 'Quiver,' 'Once a Week,'
and the ' Cornliill Magazine,' the following being
the titles of tlie pictures respectively : — 'If,' 'The
Advent of Winter,' 'Cassandra and Helen,' and
'Cleopatra.' In 1868 he returned in his Royal
Academy exhibits to his earlier medium of crayons,
sending in the ' Study of a Head,' and a portrait
of Mr. George Critchett. With them was sent in
his great picture of ' Medea,' which was accepted,
but rejected at the last moment. This procedure
drew forth from his friends an indignant protest,
and started a severe correspondence in the 'Times,'
with a characteristic eulogy of the picture from
Mr. Swinburne, with the result that in the follow-
ing year the picture was hung on the line, and
witli it was accepted a crayon portrait of Mrs.
Barstow. In 1871 another oil portrait was sent
in, representing Mr. W. H. Clabburn, a crayon
portrait of the same person, and a group in crayons
of the children of Mr. J. J. Colman. Four crayon
portraits appeared in 1873, representing Mrs.
William Brand, Mr. Leopold de Rothschild, Mr.
Frederick A. Millbimk, and Mrs. Millbank. His
exhibits in 1875 were a crayon portrait of Father
Rossi, anotlier of Miss Ellis, one without a name,
and an oil painting of Mrs. William Brand. In
1876 he exliibited one crayon portrait only, Mrs.
Charles Augustus Howell, in 1878 a similar one
of Mr. Cj-ril Flower (now Lord Battersea), and
in 1879 an oil portrait of Mrs. Temple Soanes.
His exhibits in 1880, 1882, and 1883 were all in
crayons, the two portraits in 1880 representing
James Brand, Esq., and 'Ethel and Mabel'; those
in 1882, Mr. Robert Browning, His Excellency the
Hon. J. Kussell Lowell, Mr. Matthew Arnold, and
Professor Goldwin Smith. In that year he h.'\d an
important illustration in ' Dalziel's Family Bible,'
entitled ' Jacob hears the Voice of the Lord.' In
1883 he sent into the Academy a crayon portrait
of Mrs. H. Chinnery, and in 1886 his last exhibit
was an oil portrait of Mr. William Gilliian.

The important work of Sandys was, however.
by no means confined to his exhibits at the Royal
Academy and his book illustrations. He first of
all came before the public in connection with a
clever satire of the pictures exhibited by Millais
at the Royal Acadeniy in 1857, called 'Sir Isun -
bras at the Ford.' Sandys' parody of the picture
was a very brilliant drawing, representing Mil-
lais, Rossetti, and Holman Hunt riding upon a
donkey, inscribed " J. R. Oxon," and intended to
represent Ruskin. The joke was directed against
the Oxford Professor on account of his over-vehe-
ment championship of Rossetti and Holman Hunt.
It was the occasion of the first meeting between
Rossetti and Sandj-s, and as the former artiot had

sufficient sense of humour to take the satire in
good part, it was the beginning of a warm friend-
ship which sprang up between the two men, and
lasted uninterruptedly until Rossetti's death. A'
little later on Sandys took up his abode in K-n-
sington, and became associated with that wonder-
ful circle which included Swinburne and George
Meredith, Tennyson and the Brownings, Biime-
Jones, Madox Brown, William Morris, and others.
It was from that time that his illustrative Wi.rk
commenced, as previous to then in book illustra-
tion he hiid only executed some pictures for the
' Birds of Norfolk ' and the ' Antiquities of Nor-
wich.' There are many works by liim which were
never exhibited at the Royal Academy, but that
must be mentioned. In 1862 he painted three
notable oil pictures, ' Fair Rosamond,' ' A Vestal
offering her Hair on a Rose-crowned Altar,' and
' Mary Magdalene.' In 1868 his wonderful crayon
drawing called 'Proud Maisie' appeared, perhaps
the most vivid and dramatic work he ever exe-
cuted, while in the same year he produced several
symbolic figures, notable amongst which were
'Lethe,' 'Proserpine,' ' Fate,' ' Penelope,' and ' Mi-
randa.' Amongst his crayon portraits should also
be mentioned Bishop Denison, of Salisbury, the
Misses Clabburn, Lady Buxton, 1875 ; Ladj' Law-
rence, Mrs. Samuel Hoare and her children, 1884 ;
Mrs. George Meredith and Miss Meredith, Mrs.
Cyril Flower (now Lady Battersea), and Miss
Clara Flower, 1872 ; Miss Christabel Gilliian,
1887 ; Mrs. H. P. Sturgis, 1894 ; Mrs. Palmer,
1896; St. George, 1880, and others. About the
year 1880 Sandys received a commission from
Messrs. Macmillan & Co. to execute a series of crayon
portraits of well-known literary persons, and he
devoted many years to this work. The series,
which remains in the possession of Messrs. Mac-
millan, includes portraits of Robert Browning,
Matthew Arnold, John Morley, J. H. Shorthouse,
Lord Tennyson, Dean Church, Dr. Westcott, J. R.
Green, Lord Wolseley, aud Mrs. Oliphant, while
in 1891 he produced a delightful portrait of the
children of Mr. Alexander Macmillan, and in the
following year, portraits of the same persons, two
girls, entitled ' A Christmas Carol.'

Rossetti pronounced Sandys to be 'the greatest
of living draughtsmen, and his exquisite skill in
drawing is well represented in the wonderful
picture of 'Proud Maisie,' now belonging to Dr.
Todhunter, and in the studies of foliage, tree-
trunks, branches and figures in which the artist
delighted He was never a member of the pre-
Raphaelite Brotherhood, nor in fact was he associ-
ated with any society of artists at all. He lived
in constant revolt against the Academy and all its
works, and was in frequent conflict with every
other artistic society, pursuing a resolute and life-
long independence of all schools, teacliers and
societies, and a warfare more or less with most
artists. The methods and ideals, however, of the
pre-Raphaelite Brotherhood were his, and his pic-
ture of 'Autumn,' exhibited in 1862, is a wonder-
ful example of the work of this school of artists,
carried out to a logical issue, and with marvellous
perfection. It is probable, however, that the repu-
tation of Sandys will rest mainly upon liis por-
traits of Mrs. Anderson Rose, 1863, Mrs. Jane
Lewis, 1864; and ' Medea,' 1869. These are lumin-
ous and f Tcible works, brilliant in colouring, full
of detail, and exquisitely finished. They partake
strongly of a sympathy with early Flemish work,

PAINTERS AND ENGRAVERS.

especially being reminiscent of such masters as
Van Eyck, Van der Weyden, and Memlinc. From
these men he learned " that real regard for truthful
expression in subject and detail which the pre-
Raphaelites found blended with more spiritual
qualities in fourteenth-century Florentine art."
Towards the latter part of his life Sandys devoted
himself to craj-on studies, which exhibit his remark-
able technical dexterity and his decorative feeling
fur minute details. As a draughtsman, his line in
the modelling of the beauty of a head was full of
exquisite sensitiveness and nervous musical qual-
ity. He had a marvellous sense of form, but he
was curiously lacking in the power of felicitous
indication and in imaginative understanding. His
crayon studies, exquisitely beautiful though they
were, did not enhance his reputation, and it is for
his handling of the primitive Flemish technique of
oil painting, and for the certainty of his work in
his half-dozen great pictures that he \vill be
praised. Of his personal life it is hardly Bafe to
say anything, so completely did he ruin his chances
of a great reputation by his blameworthy and
pitiable career. As recently as March 1894 there
was an exhibition of his works at the Leicester
Gallery, London, arranged by his stalwart sup-
porter Mr. Ernest Brown, and the catalogue had
a judicious preface by Mr. F. G. Stephens, who is
now almost the last of the little band who worked
with such earnestness and devotion under the
influence of the pre-Raphaelite Movement. One
of the finest of his works then exhibited was a full-
length study of a girl called ' My Lady Green-
sleeves,' now in the possession of Mr. J. S.
Budgett of Stoke Park, Guildford. Sandys has
frequently been the subject of magazine and
other articles, but the only thoroughly reliable
notice of his life and works appeared as the winter
number of 'The Artist,' Nov. 18, 1896. It was
written by Esther Wood, and was issued with
extra illustrations in specially choice form, quarto,
150 copies onl}-, and folio, twenty copies only.
From this memoir and from personal acquaintance
most of the above informntion is taken. There
were articles upon him in the 'Art Journal,' 1884,
by Mr. J. M. Grav, and others by the same author
in the 'Hobby Horse' of 1888 and 1892, while
Mr. Pennell wrote respecting Sandys in 'Pan,' a
German publication, in 1895, and later on in the
'Savoy,' 1896, and the 'Quarto,' 1896. His en-
graved works are alluded to by Gleeson White in
his ' English Illustration,' and they are illustrated
in 'Tlie Art Journal,' 1894, 'Cornhill Gallery,'
lRfi5, 'Savoy,' 1896, ' Quarto,' 1896, ' Hobby Horse,'
1888, ' Pan,' 1895, Thorobury's ' Historical Ballads,'
1876, Pennell's 'Modern Illustration, Pictures of
Society,' 1866, ' Idyllic Pictures,' 1867, and Pen-
nell's 'Pen Drawing and Pen Draughtsmen,' 1894.
Some of his works were exhibited at Mr. Ganihart's
Gallery, and nine were hung at the Grusvenor
Gallery. G. C. W.

SANDYS, Edwtn, is mentioned by Strutt as the
engrav'T of a portrait of Sir William Petty.

SANE, J. P., a French painter, born about the
middle of the 18th century. He worked for some
time at Rome, and returning to his native country,
died in 1780 in Paris. His works are little known.
A ' Death of Socrates ' is spoken of as showing
considerable talent ; there are further two genre
pictures by him in the Museum of Angers ; and
his ' Lame Man at the Beautiful Gate of the
Temple,' is in the church of St. Peter at Douai.

SANESE, Maestbo Riccio. See Neboni.

SAN-FELICE, Ferdinando, born at Naples in
1675, was at once the patron and the scholar of
Francesco Solimena. He attained a name among
historical painters, and with the assistance of Soli-
mena painted altar-pieces for several churches.
He also painted fruit, landscapes, and perspective
views, in which he particularly excelled ; and he
liad the reputation of being an excellent architect.
Solimena painted a gallery in his house, which
afterwards became an academy for young artists.

SAN FRIANO, Maso da. See Manzooli.

SANGALLO, Sebastiano da, painter, born at
Rome in 1482, son of Giuliano Giamberti, was called
Aristotile for his knowledge of perspective and
anatomy. He was a pupil of Perugino, but, as a
painter, worked in the style of Michelangelo.
He copied the ' Cartoon of Pisa ' in oil, in grisaille,
and was one of the painters summoned to Rome by
Buonarroti when he began the Sistine ceiling. He
afterwards became the friend of Raphael, after
whose designs he built the Palazzo Pandolfini, at
Florence. As a painter most of his activity waa
given to ephemeral work in theatres, and on the
fagades of houses. See Milanesi's ' Vasari,' vol. vi.
pp. 433-456. He died in 1551.

SAN GIMIGNANO, Sebastiano da. See Mai-

NARDI.

SAN GIMIGNANO, Vicenzio da. See Tajiaqni.

SAN GIORGIO, Eusebio di, brought up in
Perugia, was a fellow-worker with Fiorenzo di
Lorenzo and Berto di Giovanni in 1501. He was
induced to join Pinturicchio at Siena, and painted
the altar-piece of the Epiphany at S. Agostino, in
Perugia. In S. Francesco at Matelica, near Fab-
riano, is a ' Holy Family' painted by him in 1512,
perhaps his best work. Other works of his may be
seen at Orvieto, Assisi, and Perugia. In the cloister
of the Capuchin Convent of S. Damian at Assisi are
two frescoes. LennoliefE ascribes the Standard
preserved at Cittk di Castello as an early Raphael
to Eusebio di San Giorgio. He died in 1550.

SAN GIOVANNI, Cavaliekk Ercole, called
Ercolino di GniDO. This painter was a native of
Bologna, and a favourite of Guido Reni. He
imitated and copied the works of his instructor
with such precision, that he is said to have deceived
the master himself. Malvasia reports, that Guido
having left a picture in a half-finished state, Ercole
copied it, and placed his work on the easel of his
master, who proceeded to finish it, without dis-
covering the deception. Ercole was patronized by
Urban VIII., who conferred on him the honour of
knighthood. He died young at Rome, about the
year 1640.

SAN GIOVANNI, Gerabdo da. See Haarlem.

SAN GIOVANNI, Giovanni da, called Manozzi,
born at San Giovanni in 1590, was a pupil of
Matteo Roselli, and executed a great number uf
frescoes at Rome and at Florence, representing
biblical, historical, and mythological scenes. He
had much facility, and in his colour and cliiaroscuro
followed Caravaggio and Spagnoletto. He died in
1636. His best works are —

Kesole. ^tt^Balf } Temptatiou of Christ.

Florence. Pitti Palace. Scenes from the Life of St.
Lawrence.
„ „ A Hunting Party.

„ The A cademy. A Flight to Egypt.

„ Ojnissanii. In the Cloister ; five scenes

from the life of S. Francesco.
j Rome. QuattT'j Coronati. Frescoes in Semi-dome.

A BIOGRAPHICAL DICTIONARY OF

SAN GIOVANNI, Maso da. See Guiw, Tom-

IIASO.

SANGSTER, Samuel, an en^aver, born in 1804,
was a pupil of Finden. He engraved for the
annuals and for the ' Art Journal.' His best plates
are — ' Neapolitan Peasants on their Wiiy to a Festa,'
after Uwins ; 'The Gentle Student' and 'The
Forsaken,' after Newton. He died in London in
1872.

SANGDINETO, Rafael, a Spanish noble of
the 17th century, who practised painting as an
amateur, and was the intimate friend of Alonzo
Cano.

SANGUINETTI, Francesco. This clerer Italian
sculptor passed the early part of his life as a
painter, only taking up with sculpture in 1831.
He was born, it is believed, about 1800 at Car-
rara, and he died in 1870 at Munich, where for
many years he had been residing. For the first
few years of his artistic career lie was a very
careful, even parsimonious man, saving up all ids
money in order to acquire property, but liaving ob-
tained it he lost it all at once owing to the fraudu-
lent behaviour of a friend. He had a favourite
daughter, a very lovely girl, who in the prime of
her beauty when about nineteen was assassinated
by a jealous lover, and this was a cause of the
deepest sorrow to him. He formed a valuable
collection of paintings by old masters, spending
his money upon them rather than upon real estate,
but was swindled out of all of them by a rasca! of
a dealer, and finally, through the bursting of a
bubble company with which he was concerned,
he had to sell the very house in which he lived,
and saw all his savings of every kind swept
away. He will be remembered by his sculpture,
the best of which is at Milan, but his landscapes
were not of a very high order. He died in a
state of great depression, overwhelmed by worries
which had attended him throughout the whole of
his life.

SAN MARTINO, Marco, (or Sammaechi,) an
Italian landscape painter and engraver, who
flourished about 1680. It is in dispute as to whether
he was a native of Venice or Naples. Lanzi says
he resided at Rimini, where his pictures are more
generally to be met with. He ornamented his
landscapes with very beautiful small figures, in
which he excelled. He also attempted works of a
higher order, such as the ' Baptism of Constantine,'
in the cathedral of Rimini, and the ' Saint preach-
ing in the Desert,' in the college of S. Vincenzio, at
Venice. Bartsoh (P. gr. tom. sxi.) has described
33 prints by him, many ot which have his name in
full, Marco San Martino.

SANNI, Domingo Maria, a Spanish painter who
flourished in the 18th century. In the Madrid
Museum there are two pictures by hira, but the
dates of his birth and death are unknown.

SANO, E. B., a Belgian painter of ruins and
interiors. He died at Antwerp in 1878.

SANO DI PIETRO DI MENICO, (or Ansano,)
painter, was born at Siena in 1406, and principally
instructed by Stefano di Giovanni Sassetta. Sano
di Pietro was a most prolific artist. The Library
at Siena possesses a Codex of the University Statutes,
and a Breviary of the Nuns of St. Clara, with
his miniatures, while the Academy possesses no
fewer than 46 pictures by him. In 1428 he furnished
the model for the font in the Baptistery of S.
Giovanni in Siena. In 1433 he acted as valuator
for Sassetta. He died in 1481. Most of the
20

churches near Siena possess frescoes by hira, and
many of the chief European collections paintings.
An 'Ascension of the Virgin' in the Academy at
Siena, a 'Coronation of the Virgin' in the Town-
hall, and a ' Virgin and Saints ' in the church of S.
Girolamo, in Siena,' are among his best works. His
other chief pictures are —

Paris. Louvre. Five Scenes from the Life of St.

Jerome.
Kome. Vatican MiiSeum. Scenes from the Life of the

Virgin. A Predella.
Sieua. Cathedral Library, Several Antiphonaries with

miniatures.

SAN SEVERINO, Jacopo di, brother of the
elder Lorenzo di San Severino, whom he assisted
in the fresco in San Giovanni Battista, at Urbino,
dated 1416.

SAN SEVERINO, Lorenzo di, was born in
1374. In 1416 he and his brother Jacopo decorated
the oratory of San Giovanni Battista at Urbino
with frescoes, (which still remain, though much
defaced by time,) representing scenes from the life
of St. John the Baptist, and the Crucifixion. The
latter is inscribed, " M.O.C.C.C.X.V.I. die xvii.
Julii. Laurentius. de. Santo. Severino. et. Jacobus,
frater. ejus. hoc. opus, fecerunt."

SAN SEVERINO, Lorenzo di, another artist ot
the same name, and supposed to be a son of
Lorenzo. Three works by him exist, dated from
1481 to 1483 ; the first is in the sacristy of a church
at Pansola near Macerata; the second is a fresco in
the collegiate church of Sarnano ; and the third is
a panel in the National Gallery, representing the
Marriage of St. Catharine, with four saints. The
last picture is signed Laurentius II Severinaspisit.

SANSONE, II. See Mabchesi, Giuseppe.

SANTA CROCE, Francesco di Simone da, some-
times called Eizo, was bom in the village of Santa
Croce in the latter part of the 15th century. In
his youth he went to Venice, and is thought to
have been a pupil of Carpaccio or Previtali, both
of whose styles he greatly afiiects, though in a
picture of the ' Madonna aiid Saints' now in the
church of S. Pietro Martire, Murano, he signs him-
self a pupil of Bellini. His earliest known work is
the ' Annunciation,' painted in 1.504 for the church
of S. Spino, near Croce, and his latest the altar-
piece of the Madonna and six Saints in the church
of Chirignano, near Mestre. Pictures by him may
be found in the Lochis Carrara Gallery, Bergamo,
which possesses three examples, and in the Berlin
Gallery. An ' Epiphany ' and 'Noli MeTangere'
are in the Venice Academy. The date 1541 occurs
upon one of his pictures (an altar-piece in a village
church near Mestre), but its authenticity is not
beyond dispute. The latest year anterior to it is
1529.

SANTA CROCE, Girolamo da, a relative of
Francesco da Santa Croce, was born in the early
part of the 16tli century. He is said to have been
a pupil of Bellini, and to have painted at Venice
from 1520 (which is the date of the altar-piece
in the church of San Silvestro, an enthroned St.
Thomas k Becket between St. John the Baptist
and St. Thomas) to 1549, when he completed the
' Last Supper ' at San Martino. In 1527 he painted
the ' Charity of S. Martin ' for the church of
Luvigliano, near Padua: and in 1532 he executed
fourteen frescoes representing scenes in the life of
St. Francis of Afsisi, in the Scuola di Francesco
della Vigna, Venice, which have now vanished.
The convent church still contains a fresco of the-

GIROLAMO DA SANTA CROCK

ILinfituiiil photo]

TWO SAINTS

\_Natknal Gallery

PAINTERS AND ENGRAVERS.

(.'lirist in Benediction, and a small picture of the
'MartjTdora of St. Lawrence.' Other works by
this Siiinta Croce are :

Berlin. JIusettnt. The Epiphany.

., „ Christ carrviug His Cross.

^ „ The Crucifixion.

„ ^ Martyrdom of St. Sebastian.

Dresden. Gallery. The Nativity.

,, ., The Martyrdom of S. Lawrence.

London. *V<rf. Gallery. T^vo figures of Saints.

SANTAFEDE, Fabeizio, the son of Francesco
Santafede, was born at Naples in 1560. He was
first instructed by his father, but he afterivards
became a scholar of Francesco Curia, and at length
visited Rome, where he remained two years, study-
ing the principal objects of art in that capital. On
his return to Naples he was employed in several
considerable works for the public edifices. For
the church of the Nunciata he painted a ' Nativity,'
and an ' Annunciation to the Shepherds ; ' for S.
Maria de Constantinopoli, an ' Adoration of the
Magi,' and for S. Maria Nuova a ceiling. He died
at Naples in 1634.

SANTAFEDE, Francesco, bom about 1519, was
a Neapolitan, and a scholar of Andrea Sabbatini,
called da Salerno. There are many of his works
in the churches at Naples, of which the best, per-
haps, is the ' Coronation of the Virgin,' in S. Maria
Nuova.

SANT AGNESE, Stefano da, otherwise known
as '• the Pievan of Sant Agnese," is the author of
an enthroned Madonna, signed, and dated 1369,
now in the Correr Museum, Venice. The .\cademy
01 that city possesses a 'Coronation of the Virgin,"
signed by Stefano in 1381. Nothing further is
known of him.

SANTAGOSTINI, GiAcnrro and Agostino, the
sons of Giacomo Santagostino, painted in the
17th century. Among their Joint works were
large pictures for S. Fedele in Milan. They also
painted many works independently of each other,
and Agostino was the author of a little treatise on
the pictures in Milan, called ' L'Immortalita et
Glorie del Pennello,' pubhshed in 1671.

SANTAGOSTINO, Giacomo Astoxio, born at
Milan in 1588, was a scholar of Giulio Cesare
Procaccini, under whom he became a very reput-
able artist. He painted several pictures for the
churches of Milan, particularly for S. Lorenzo
Maggiore, S. Maria del Lantasio, and S. Vittore.
He died in 1648.

SANTARELLI, Gaetaxo, painter, a noble of
Pescia, was a pupil of 0. Dandini. He died young.

SANTELLI, Felice, a Roman painter of the
16th century. He painted for the church of the
P. P. Spagnuoli del Riscatti Scalzi, in competition
with Baglione. Lanzi mentions a signed picture
by him in the church of Santa Rosa, at Viterbo.

_ SANTEN, Gebabd van, a Dutch painter of battle-
pieces, who was much patronizfed by Prince
Frederick Henry of Orange. In 1629 he was
received into the Guild of St. Luke, at the Hague,
and in 1650 he was still at work.

SANTERRE, Jean Baptiste, a French painter,
born at Magny, near Pontoise, in 1658, was a
pupil first of Franfois Lemaire, and then of Bon
Boulogne. He was very careful as to his processes,
m.iking many experiments in pigments, and finally
restricting himself to five, on which he could, as he
thought, depend, and delaying the varnishing of
his pictures for ten years. His works are few.

The best are ' Susanna and the Elders,' and a
female portrait, in the Louvre : a " Mary Magdalene
penitent,' and a " Saint Theresa,' at Versailles.
Santerre formed an academy for female students,
from which he drew many of his models. His
portraits and domestic subjects are carefully de-
signed and harmonious in colour. Many of his
works have been engraved. He died in Paris in
1717.

SANTI, ASTOXlo, a native of Rimini and a pupil
of Cignani, died in 1700. The great promise shown
in his early works was robbed of fruition by a
premature death.

SANTI, Bartolommeo, a native of Lucca, who
studied at Bologna, and practised as a scene-
painter and decorator in the 18th century.

SANTI, DoMEXico, called Mesgazziko,' (Misgac-
CIX".) was bom at Bologna in 1621, and was one
of the ablest disciples of Agostino Metelli. He
nearl3- equalled his instructor in painting perspec-
tive and architectural views. The churches and
palaces at Bologna, particularly S. Colombano, the
Servi, and the Palazzo Ratta, possess many of his
works, which are embellished with figures by
Giuseppe MetelU, Gio. Antonio Burrini, and esve-
cially by Domenico Maria Canuti. He also
painted pictures of a small size, which are fre-
quentlv mistaken for the works of Agostino Metelli.
He died in 1694.

SANTI, Giovanni, the son of a general dealer
and the father of Raphael, was born at Castello di
Colbordolo, in the territory of Urbino, about 1435.
He himself was brought up to his father's trade,
and was probably induced to study art through
his acquaintance with Melozzo da Forli and Pietro
della Francesca. His earliest known works are the
frescoes in the church of S. Domenico, at Cagli,
representing the Resurrection and a Madonna En-
throned among four Saints. In 1483 his son
Raphael was born in the Contrada del Monte,
Urbino, in a house purchased by Santi in 1464. In
1484 Santi painted an altar-piece for the church
of Gradara, near Pesaro, representing the Virgin
and Child, with Saints. In 1491 his wife. Magia
Ciarla, died, leaving her son eight years old. The
fresco still extant in Santi's house, a Virgin with
the Sleeping Infant pressed to her bosom, is said to
have been painted from his first wife and her little
son Raphael. In 1492 Santi married Bemardina,
the daughter of a jeweller named Piero di Parte.
Giovanni Santi was one of the best Umbrian
painters of his time. His style is simple and im-
afEected, but there is an unpleasant coldness about
his colouring. His best works are considered to be
a ' Madonna witii Saints,' in the church of San
Francesco in Urbino ; a ' Madonna with Saints,' in
the convent of Montefiorentino, near Urbino ; a
' Visitation of the Virgin,' in Santa Maria Nuovo,
and a 'Madonna with Saints' in the Hospital
Church of Santa Croce, the two last being both at
Fano, and an ' Enthroned Madonna ' in fresco, in
the Dominican Church at Cagli (dated 1492). He
was a poet as well as a painter, and left a Chronicle
in rhyme, still preserved in the Vatican, entitled
' Gesta gloriosa del Duca Federigo d'Urbino.' He
died at Urbino in 1494. Additional works:

T^-^rlin. Gallery, Two altaj-pieces,

Milan. Brera. .4n Annunciation.

Rome. Zateran. An enthroned St. Jerome.

Urhinn. Brotherhood of) .

S. Sebojitian. /

Martyrdom of St. Sebastian.

Gallery. Madonna with four Sainta.

A BIOGRAPHICAL DICTIONARY OF

SANTI, PlETKO, commonly called Pietro Bar-
TOLI, r.nd sometimes II Pekugiko, from his birth-
place, was born at Perugia, about tlie year 1635.
In the early part of his life he studied under Le
Maire and N. Poussin, and practised painting, but
abandoned it, to devote himself entirely to engrav-
ing, in which he greatly distinguished himself by
the merit and number of his plates. He died at
Rome in 1700. His plates are cliiefly etched, and
his point is extremely free and masterly. He some-
times marked his works P. B. F., but more fre-
quently Petr. Ss. Bart., sc- Romce. The number
of his prints is very considerable ; the following list
comprises the best:

Admiranda Romanorum Antiquitatuvi ac vetens Sculp-

iuTtB Vestigia ; eighty-one plates,
Somanip mntjnitudinis Monumenta ; one hundred and

thirty-eight plates.
Veieres arcui Augustorum triumphis iiisignes; fifty-twu

plates.
Colonna di Marco Aurelio^ ^c, the Antoniue CoUimn ;

seventy-eight plates.
Colonnn Trajana, di Alfonso Ciacconi ; one hundred and

tweuty-t'ight plates.
Sepolcri antichi Jiomani ed Etruschi trovati in Roma ;

one hundred and twenty-three plates.
The Nozze AUlobrandini ; two sheets.
Le Pitture antiche delle yroiu. di Iloina, ^c. ; assisted by

F. Bartoli ; ninety-four plates, 1680 and 1706.
Le antiche Lucerne sepolcrali in Koina, 1691 and 1704 ;

one hundred and nineteen plates.
Antiqtiissimi J'irgiliani Codicis fraymenta et pictum, ex

Bibl. Vaticnna ; iifty-tive plates.
Scenes from the Life of St. Peter ; after Lanfranco.
Subjects from * Kaphael's Bible ' ; forty-two plates.
Grottesques ; after Raphael; in.scribed Parerya atque

ortiamenta in Vaticano^ t^c. ; forty-three plates.
Jupiter hurling thuuderbolts at the Giants ; after Giulio

JiomaTw.
The Birth of the Virgin; after Ailiaui.
The Virgin and Child in the Clouds; after L. Carracci.
Coriolanus and his Family; after An. Carracci.
S. Carlo Borromeo led by an Angel ; after the same.
Daniel in the Lions' Den ; after Pietro da Cortona.
St. John preaching ; after P. F. Mola.
The Adoration of tlie Magi ; after Raphael ; in three

sheets.
Jupiter nursed by Amalthea ; after Giulio Romano.
Hylas carried off by Nymphs ; after the same.
Sophouisba before Masinissa ; after the same.
The Continence of Scipio ; after the same.
St. Stephen ; from his own desii/n.
St. Bernard enchaining the Devil ; do.
Theatre erected in St. Peter's for a Canonization ; do.
The sepulchral Monument of Pope Urban VIII ; do.

SANTI, Raphael. See Sanzio.

SANTI, Sebastiano, a painter, born at Venice
in 1788, was first a restorer of pictures, and then
a painter in fresco. His works are to be found in
the Venetian churches. He died in 1866.

SANTI DI TITO. See Tito.

SANTIAGO PALOMARES, Francisco Xavier
DE, born at Toledo in 1728, was a learned writer,
an ingenious emblazoner of state documents, and
a skilful designer. He held an oBice as receiver of
crown rents, and was also much emploj'ed in copy-
ing manuscripts for the royal libraries. In these,
and in literary pursuits, he was occupied for up-
wards of thirty years. He assisted Bayer in the
formation of the Index to the ancient Hebrew,
Greek, Latin, and Spanish manu.scripts in the
Escurial ; wrote on the topography of Spain, of
her geograpliical position in America, and of
matters ecclesiastical and political. But he is
noticed here mainly for his artistic talents, as a
p<iiiiter of landscapes, and an ornamental designer
of frontispieces for books in Indian ink and with

the pen. He painted in oil four views of Toledo,
several portraits of distinguished persons, and a
number of landscapes. He had a peculiar aptitude
for the designing of frontispieces, and his talent
was in great request by authors and publishers for
that purpose. These will be found prefixed to
many of the books printed in Spain during the
second half of the last century. He died at Madrid
the 13th of January, 1796.

SANTILLA2JA, Juan de, a skilful glass painter
of Burgos, practising towards the close of the 15th
century. Jointly with Juan de Valdivieso he
worked in the cathedral of Avila, where he painted
(in 1497) four windows by the ' Altar de Gracia,'
one of which, representing St. John, still exists.
He also painted scenes from the life of Christ for
the windows of the Cloister Library, and a ' Resur-
rection,' for the cathedral.

SANTINI. Two painters of this name were
living at Arezzo in the 17th century. They were
distinguished as 'the Elder' and 'the Younger.'
Lanzi mentions a 'St. Catharine' by Santini the
Elder in the cloister of tlie Conventual Friars of
A rezzo.

SANTINO de' RITRATTI. See Vandi, Sante.

SANTIS, Orazio di, an engraver, probably a
native of Aquila, flourished from 1568 to 1.^77,
according to the dates on his prints, which are
chiefly after the designs of Pompeo Aquilano.
Bartsch has described seventeen prints by Santie,
and supposes that there are others which have not
come to his knowledge. Nagler has added 74
plates of antique statues at Rome, the joint work
of Santis and Cherubino Alberti, [ uljlished in 1584.

SANTISIMO SACRAMENTO, Fray Jdak del.
See Guzman, Juan de.

SANTO-DOMINGO, Fray Vicente de. This
Spanish monk is entitled to notice as being the first
instructor of Navarrete, called el Jfiido, and for
his discernment of his pupil's talents at a very
early age. He taught him all tliat he himself
knew, and then very honestly advised his friends
to send him to Italy for improvement. Four
pictures in the church at Estrella were attributed
to Santo-Domingo, but it is now ascertained that
they were painted in 1659 by Navarrete, when, for
the benefit of his health, he had permission from
Philip II. to reside at Logrono. But Santo-Domingo
painted the grisailles on the walls of the cloister,
and other ])ictures which are in the convent of
S. Catalina de Talavera de la Reyna.

SANTO, GiEOLAMo, (SoRDO,) called Girolamo di
Padova, an artist of the 16th century, who painted
the facade of the Cornaro Palace, several frescoes
in S. Francesco, and, with Parentino, scenes from
the life of St. Benedict in S. Giustina, all at Padua.
A curious picture of a genealogical tree in the
Santo is also ascribed to him. Of his hfe little is
known, but his existence can be traced as late as
1546.

SANTO PERXNDA, was bom at Venice in 1566.
According to Ridolfi, he was first a scholar of
PalmaGiovine, and afterwards of Leonardo Corona,
of Murano. He executed several considerable works
for the Ducal palace at Venice and for the Dukes
of Mirandola and Modena. There is a picture by
him in the Ducal palace representing the defeat of
the Turks by the Venetians. His ' Descent from
the Cross ' is in the church of S. Procolo. He died
in 1638.

SANTO RINALDI, called II Tbomba, a painter
of battles, landscapes, and architecture, bom at

GIOVANNI SANTl

Hanfstdttgl photo] iBnlin Gallery

THE MADONNA AND CHILD WITH SAINTS

CxIOVANNI SANTI

Woodbury Co, photo]

MADONNA AND CHILD

[National Gallery

PAINTERS AND ENGRAVERS.

Florence about 1620, was a pupil of Fiirini. Though
eminent in his day, httle is known of his history ;
he is supposed to have died in 1676.

SANTOS CRUZ, a Spanish pointer, who worked
on the liigh altar of Avila cathedral, with Pedro
Berruguete, from 1475 to 1499.

SANTOS, Joan, a fresco painter, flourished at
Cadiz in 1662. He was much employed in paint-
ing standards for the Spanish navy. It is also
recorded that he painted little pictures to please
certain ladies of Andalusia, which may occasionally
be found in very private cabinets.

SANTO ZAGO, or ZASO. See Zago.

SANTVOOKT, Dirk van, supposed to be the
son of Anthonis Santvoort, an obscure engraver,
painted history portraits somewhat in the manner of
Rembrandt. He was practising in 1635 ; there are
prints after him by Jonas Suyderhoef and Theodore
Matham. A picture by him in the Louvre repre-
sents 'Christ and the Two Disciples at Emmaus;'
but his cliief excellence was in portraiture, as is
6ho\\Ti in the group of four ladies in the Workhouse
at Amsterdam. The date of his death is unknown.
Fiissli mentions a certain S. van Santvoort as
practisina: in Holland in the 18th century.

SANTVOORT, Pietkr, a painter of Haarlem.
The only record of him now extant is the registra-
tion of his death in 1681, but a landscape in the
manner of J. Van Aken has been attributed to him,
and has been engraved.

SANUTO, or SANNUTUS, GiULio, an Italian
engraver, was born at Venice about the year 1530.
His prints are executed in a coarse, heavy style,
with single strokes, without any hatching, and
have a certain resemblance to wood-cuts : among
them we may name :

Venus ami Adonis ; after Titian.

The Marriage of the Virgin: after Raphael; with the

engraver's mark.
The monstrous Child, signed Jul. Sannutus Venet Fac.

The birth of this monstrous child took place at Venice

in 1540: the mother "was a German.
Two winged Genii in the air supporting a globe, on

which stands Cupid discharging an arrow to the left

of the print ; no name of engraver.
Dance of Bacchanals in a wood ; signed JuLirs San-

NTTrs. F.
ApoUo and Marsyas, after Correyipo, with the Parnassus.

after Raphael^ in three sheets.

SAN VITO. See Amalteo, Pomponio.

SARABIA, Francisco Antolines, nephew of
Josef de Sarabia, bom at Seville in 1644. studied
for the law, but afterwards took to art, and went
to Madrid to study in tlie school of JIurillo. He
received a judgeship at Seville, but eventually re-
turned to Madrid, where he took orders, and died
in 1700.

SARABIA, Josef de, a Spanish painter, bom at
Seville in 1608, was first placed with Agustin del
Castillo, and after that mastei-'s death in 1626, with
Francisco Zurbaran. He chiefly resided at Cordova,
where he painted many pictures and altar-pieces
for the churches. He was not deficient in merit, but
he took his subjects from prints by Sadeler, some
of which were after Rubens, and imposed them on
the ignorant as his own inventions. The best
original work of Sarabia is the • Flight into Egypt,'
which is entirely his own composition. He died at
Cordova in 1669.

SARACENI, (or Saracino, Saracini,) Carlo,
called Veneziano, a painter, bom in Venice in
1585. According to Baglione, he visited Rome
during the pontificate of Clement VIII.. and

was for some time under the tuition of Camillo
Mariani, but afterwards studied and imitated the
manner of Caravaggio. He returned to Venice,
whither he had been invited to paint a picture for
the council-chamber, but did not live to finish it.
He died in 1625. Saraceni engraved a few plates
from his own designs, which he signed usually
Carolits Saracenus invent. Pictures :

Munich. Pinakothek. The Death of the Virgin.
„ „ St. Francis of Assisi.

„ „ St. Jerome.

„ S. Si7>ione. Virgin enthroned.

„ Quirinal. Several Frescoes.

„ Doria Palace. Repose in Egypt.

„ Borghese Palace. Joseph interpreting Dreams.

„ Sciarra Palace. Beheading of the Baptist.

Venice. Manfrini Palace. Scene from the Deluge.

SARAZANA. See Fiasei-la.

SARAZIN DE BELMONT Louise Josephine.
painter and lithographer, was born at Versailles in
1790. She was a pupil of Valenciennes, and was
several times premiated. From 1812 till 1868 she ex-
hibited a very large number of works at the Salon,
her subjects being principally landscape views, with
various effects of light. Of lier essays in another
manner we mav mention 'Gil Bias' and 'Don
Alphonso' (1822) ; ' Herminia and Tancred ' (1824).
Examples of her work are to be seen in the galleries
of Angers, Nantes, and Toulouse. She died in 1871.

SAHBOT. By an artist of this name, who flour-
ished about 1675, we have a print of ' Christ pray-
ing in the Garden,' supported by an angel. It is
probably from his own design, as he adds the word
fecit to his name.

SARBRUCK, Bautholome von, painter, bom at
Treves about 1590, and called Trevirensis, worked
in Basle and in Bern, and painted several portraits
in the style of Vandyck.

SARGENT, Frederick, painter, exhibited por-
traits at the Royal Academy from 1854 to 1874.
Among tliom maybe mentioned 'The Duchess of
Buccleuch ' (1871), and 'The Countess Spencer'
(1874). He also painted scenes in the House of
Conmions, the Royal Garden Party, &c. He died
after a short illness in 1899. M. H.

S.iRGENT, Henry, painter, was bom at Glou-
cester, Massachusetts, on November 25, 1770. He
studied in London under Copley and West. Re-
turning to America, he settled at Boston, and
painted genre and historical pictures. Several
portraits by him are in the possession of historical
and other societies at Boston. He died on February
21,1845. M.H.

SARMIENTO, Teresa, Duchess of Bejar, an
amateur historical painter of much talent, who
painted pictures fur various churches in Madrid,
where slie was living towards the middle of the
17th century.

S.4RRABAT, Daniel, painter, bom at Paris in
1666. Three prize pictures bv him are recorded :
'Noah entering the Ark' (1686), 'The Deluge'
(1687), 'Noah leaving the Ark' (1688); but he
never took part in any public exhibitions, and
though received by the Academy in 1702, did not
become a full member. He died at Lyons, June
22nd, 1748.

SARUABAT, Isaac, a French mezzotint en-
graver, born at Lea Andelys about 1660. He was
one of the earliest artists of his country who prac-
tised that mode of engraving, and his plates are

A BIOGRAPHICAL DICTIONARY OF

very indifferently executed. Among others, we
have the following prints by him :

J. B. Bossuet, Bishop of Meaux ; after Rigaud.
Antoiue Coypel, Painter to the King ; after iVetscher.
Etienue Gantrel, Engraver to the King; after Largil-

Here.
The Confessor ; in two plates ; after iV. van Haeften.
Heraclitus, half-length ; after M. Corneille.

SARRAGON, John, an engraver and publisher,
who flourished about the year 16-15. His plates
were mostly portraits.

SARRAZIN, Be.vigne, painter, the son and pupil
of Jacques Sarrazin, was granted a pension by
Louis XIV. to enable him to complete his studies
at Rome, and after his father's death was allowed to
retain the latter's lodging in the Louvre. His only
recorded work was a series of paintings, which he
executed in 1674, in the chapel of the Hotel de
Ville at Marseilles, but these were some years ago
destroyed during an alteration of the building. He
died in Paris in 1692.

SARRAZIN, Jacqdes, the elder, the famous
French sculptor, born at Noyon in 1588, painted a
few pictures. D'Argenville speaks of a 'Holy
Family' and four medallions at the'Minimes' in
Paris, 80 beautiful that they might be taken for the
work of Lesueur. In the Rennes Museum there is
a pencil drawing by him, and Duret engraved
some of his Madonnas. He died in Paris in 1660.

SARRAZIN, Jean Baptiste, professor at the
Academy of St. Luke at Paris, held an appoint-
ment as decorative painter at the court of Louis
X\'I. He exhibited a few landscape and marine
views between 1762 and 1793.

SARTAIN, Emilt, bom in Philadelphia in 1841,
daughter of John Sartain, and a pupil in P.^.ris under
Evariste Luminais. She worked for some time in
Parma, and then returned to the United States and
exhibited largely, her chief picture, 'The Reproof,'
being shown at the Centeimial Exhibition in Phila-
delphia in 1876, and very highly commended. She
is said to have died in 1891, but the date is uncertain.

SARTAIN, John, painter and engraver, was
bom in London in 1808. After studying engraving
in London he went to America in 1830, and in
1842 became proprietor of ' Campbell's Magazine,'
and editor of 'Sartain's Union Magazine,' in both
of which his work appeared. His reputation was
made by his mezzotint engravings, among which
may be mentioned his ' Christ Rejected,' after
Benjamin West; 'The Iron-Worker and King
Solomon,' after C. Schussele; 'The Battle of Gettys-
burg,' after P. F. Rothermel ; ' Eugenie, Empress
of France, and the Ladies of her Court,' after
Winterhalter; and 'William Penn,' after H. Inman.
He made designs for several monuments, among
them those of Lafayette and Washington at Phila-
delphia, and also engraved several book-plates.
He was a member of the Philadelphia Academy of
Fine Arts. He died at Philadelphia on October 25,
1897. M. H.

SABTARELLI. See Saltarello,

SARTI, Antonio, an Italian painter, practising
about 1600, mentioned by Baldassini in his 'Storia
di Jesi,' where he highly commends a 'Circumcision'
in the collegiate church of Massaccio.

SARTI, Ercole, called II Muto di Ficaeolo,
was born at Ficarolo, a town in the duchy of Fer-
rara, in 1593, of a respectable family, and was deaf
and dumb from his birth. Before he was sixteen
years of age, on the occasion of a solemn proces-
sion, he placed on the front of his father's house
a picture he had painted in secret, representing
24

the ' Adoration of the Magi.' This unexpected
production was the object of general astonishment,
and its author was placed under Carlo Bononi, at
Ferrara. He afterwards imitated the style of Ippolito
Scarsellino, his contemporary. The principal pic-
tures of Sarti are in the church of the Benedictines,
in his native town. He also painted a portrait of
Pope Sylvester, now in the Costabili Gallery. He
died about 1637.

SARTO. Andrea del. See Andrea d'Agnolo.

SARTORI, Enrico, Italian painter; born at
Parma in 1831, where he received his first instruc-
tion ; made his name as a landscape painter, and
six of his works, mostly views of Parma, are now
to be seen in the Art Gallery of that city. He
died in 1889.

SARTORI US, Jakob Christopher, an engraver
of Niiremberg, whose portraits and book-illus-
trations bear dates from 1694 to 1737.

SARTORIUS, J. F., the elder son of John N.
Sartorius, born about 1775, and dying about
1830. He was, like his father and grandfather, a
painter of sporting subjects, but it is not very
easy to distinguish his works from those of his
father, as he frequently signed them with his
surname only. There is a large collection of
. works by the family at Elsenham Hall, and Sir
Walter Gilbey wrote articles on the Sartorius
family in ' Rally's Magazine ' for January and
February 1897, and these are almost the onlj'
sources of information respecting him and his
father. He exhibited at the Royal Academy in
1802, and was then resident at Holborn. His
, best picture is a portrait of the Marchioness of
Salisbury riding at Hatfield, which appeared at
] the Academy in 1806. He resided in 1797 in King
j Street, Holborn, afterwards at 90, Newman Street,
and then in King's Road, Chelsea, eventually
moving to 3, Queen's Elms, Chelsea (wliere he
died), and having a studio in Bedford Street, W.C.

SARTORIUS, John N. This artist is believed to
have been born about 1755, and is said to have
died in 1828. He exhibited at the Royal Academy
from 1781 to 1824, and his pictures are of sporting
subjects, most of them horses and dogs and hunt-
ing-scenes. Very many of them were engraved
in mezzotint and aquatint by such engravers as
Walker, Webb, and Peltro. His best -known
picture, perhaps, represents the famous horse
' Eclipse,' but this was executed from a pencil
drawing done by his father, Francis Sartorius.
Many of his best pictures belong to Sir Walter
Gilbey, whose articles in ' Baily's Magazine,' Janu-
ary and February 1897, contain all the information
that is known respecting him. He resided first in
Wells Street, Oxford Street, then successively at
109, St. Martin's Lane : 2, Spur Street ; 14, Stephen
Street ; and 9, Percy Street, Eventually he went
to 17, Bolsover Street, and had a studio at 39,
Bedford Street, Covcnt Garden.

SARZANA. See Fiaselli.

SARZETTI, Angiolo, an artist of the Bolognese
school, _ born at Rimini. For the church of the
Angioli, in his native town, he executed some
paintings in oil and in fresco. He was a pupil of
Cignani, and flourished about 1700.

SAS, Christian, a German engraver, who flour-
ished from about 1630 to 1660. He engraved
several plates, among which are fortv-five scenes
from the life of St. Philip Neri, after S'tella. There
are some other plates by him, after II Pomerancio,
and other masters.
SASC, Jdlie de, {nee Lisiewska,) painter, born

PAINTERS AND ENGRAVERS.

in Saxony, 1724. She was the pupil of lier father,
Georg Lisiewski, and lived for some time at ihe
Hajrue, where she became a member of tlie Pictura
Society in 1767. She died at Berlin in 1794.

SASONOFF, W.iSSiLY Kondeatiewitsch. Rus-
sian painter ; bom in 1789 at Gomel (Mohileff),
and studied at the St. Petersburg Academy under
OugrumofF. His picture of 'The Grand Duke
Dmitri Donskoi after Koulikovo ' is in the Hermit-
age at St. Petersburg. He died in 1870.

SASS, Henry, portrait painter, son of an artist,
was born in London in 1788. His first work was
the 'Descent of Ul^'sses into Hell,' and in 1816 he
went to Rome. He never, however, obtained much
reputation as an artist, though be was very success-
ful as an elementary teacher. Many of the chief
English painters of the 19th century passed through
his school. He died in 1844. (See ' Reminiscences,'
by W. P. Frith ; London, 1887.)

SASSE, Richard, a water-colour painter, born
in 1774, exhibited landscapes at the Academy from
1791 to 1813. In 1811 he was appointed teacher
to the Princess Charlotte, and landscape painter to
the Prince Regent. In 1815 he travelled on the
Continent, and eventually settled in Paris, where
he died in 1849. He was a cousin of Henry Sass,
but lengthened his name by an e. There are
examples of his work at South Kensington.

SASSETTA. See Stefano.

SASSl, Giovanni Battista, flourislied at Milan
in the 18th century, was a pupil of Solimena, in
Naples, but returned in 1715 to Milan, where he
painted several altar-pictures, and completed some
pictures left unfinished by Pietro Giraldi.

SASSOFERATU. See Salvi.

SASSOLI, Fabiano, a painter upon glass, who
flourished at Arezzo in the 15th century. His son,
Stagio, excelled his father in the same art, and
was a collaborateur with Domenico Pecori, and
later with the famous Guillaume de Marseilles.

SASSONE, II. See Mengs, Anton Rafael.

SATTLER, JoHANN Michael, born at Neuberg,
in Austria, in 1786, was a pupil at the Vienna
Academy, but settled at Salzburg. He painted
panoramas, which he exhibited in the chief German
towns. He died at Mattern, near Salzburg, in 1847.

SAUBERLICH, Lorenz, a German engraver
on wood, who, according to Professor Christ, pub-
lished some wood-cuts at Wittemberg in the year
1599. He used a cipher composed of an L. and
an S. He is supposed to have died in 1613.

SAUERWEID, Alexander, Russian painter and
etcher; bom at Kurhmd in 1783; studied at the
Dresden Academy ; in 1814 the Emperor Alexander
summoned him to St. Petersburg. He painted
battle-pieces somewhat in the stjdo of Horace
Vemet, and he also published several effective
etchings of cavalrj* and cavalry skirmishes, the
war scenes dealing with the canipaigns of 1813
and 1814. He died at St. Petersburg "in 1844.

SAUNDERS, George. The artistic work that
brings this eminent architect within the scope of
' Bryan's Dictionary ' was chiefly a series of draw-
ings he made of the bridges of Middlesex in 1825
and 1826, when with other magistrates he had to
inspect them. He also produced a fine elevation
for the extension of the British Museum, designed
m 1804. His architectural work no longer appears
at the Museum, as the building he erected was
removed in 1852. He was a great authority on
brick architecture, and made several drawings of
the brick churches at Verona. He was born in

1762, spent most of his life in London, and died
in 1839.

SAUNDERS, Joseph, an English miniature
painter, working in London towards the end of the
18th century. He had an extensive practice, and
was employed principally as a painter of ladies'
portraits. 'From 1778 to 1797 he exhibited occa-
sionally at the Academy. His son, R. Saonders,
practised the same art

SADNIER, Noel, studied under Pils and his
father, and was a frequent exhibitor at the Salon.
He painted genre subjects. He died in 1890, at
the ace of forty-two.

SAURA, MosEN Domingo, a Spanish painter of
the 17th century, born at Lucena, in Valencia. On
the death of his wife he became a priest, and
devoted himself with much success to the art of
painting. His works are numerous at Valencia.

SAUT.4I, Paul Emile, French painter ; born at
Amiens, January 29, 1842 ; came to Paris in 1860
and entered the Ecole des Beaux Arts ; studied
with Robert-Fleury and Jules Lefebvre, and from
1865 to 1870 lived and worked in Italy. His
works exhibited at the Salon dealt mainly with
scenes of monastic life, such as : ' Couvent de San
Benedetto,' ' Pelerins devant la Chapelle de San
Pietro,' ' Interieur de Convent,' &o. He obtained
a medal in 1870, a second-class medal in 1870, a
third-class medal at the Exhibition of 1878, and a
gold medal in 1889. In 1885 he received the
Legion of Honour. He died in 1901.

SAUTERLEUTHE, Joseph, a celebrated painter
upon glass, born at Weingarten in 1796. He was
a pupil of Isopi, and began his career in the china
factory of Ludwigsburg, but in 1812 went to
Nuremberg to perfect himself in the art of glass-
painting. In 1837 he painted twelve windows
for Prince Thum-and-Taxis at Ratisbon, and,
jointly with Vortel of Munich, he executed the
windows in the hall of the Minnesanger in the
Landsberg Schloss at Meiningen. Fine examples
of his art are preserved in the Hertel Collection at
Nuremberg, consisting of paintings on glass after
Albrecht Diirer's ' Life of the Virgin.' He died at
Nuremberg in 1843.

SAUTOY, Jacques L^on du, French painter;
born in Paris, October 18, 1817 ; for a long time
he held the Directorship of the Art School at
Fontainebleau ; and here he died on September 22,
1849.

S.\UVAGE,AsToiNE,called Lemire the yodnger,
to distinguish him from his father, Gabriel Charles
Sauvage, called Lemire. He was a French painter
of history and portraits. He was born at Lun6-
ville, and died in the last quarter of the 18th cen-
tury. His wife, nee Sophie Brinisholtz, was also
a painter.

SAUVAGE, Jean Baptiste, a French painter of
the 17th century. In the museum at Valenciennes
there is by him a portrait of Jean Baptiste Rousseau.

SAUVAGE, Joseph Gr^goire, a Flemish minia-
ture painter and enameller of the 18th century,
who was painter to Duke Charles of Lorraine for
seventeen years. On the death of his jiatron he
was reduced to great poverty, and is said to have
died in the hospital of St. Peter at Brussels.

SAUVAGE, PiAT Joseph, was born at Tournai
in 1744, and studied at the Academy at Antwerp.
He essayed several styles of painting, and finally
adopted that of bas-relief, in which he became
eminent. He settled for a considerable time in
Paris, where his works were in high estimation.

A BIOGRAPHICAL DICTIONARY OF

In 1808 he returned to Ins own city, where he
taught in tlie Drawing School. His paintings in
has relief are to be seen in the museums of Tournai,
Antwerp, Montargis, MontpeHier, Montauban, Lille,
and Toulouse. He imitated marbles and ancient
terra-cottas with great success, and painted por-
celain in enamel. Van Spaendonck occasionally
added flowers in his pictures. He died at Tournai
in 1818.

SADVAGEOT, Charles Theodore, painter, born
in Paris in 1826, was a pupil of Isabey. He ex-
hibited landscape views of French scenery at the
Salon from 1863 onwards, and died at Fontainebleau
in 1883.

SAUVAGEOT, Denis Francois, painter, born in
Paris in 1793, was a pupil of C. iSourgeois. He
painted landscapes and interiors, and was an occa-
sional exhibitor at the Salon from 1822 to 1831.

SAUVAGEOT, DfciR^E Charlotte (nee Gal-
liot), born in Paris in 1800, was a pupil of Bouchet.
From 1819 to 1848 she exhibited portraits and genre
pictures.

SAUVAI6NE, Lotus Paul, a French marine
painter, and pupil of Corot and Daubigny, was
born at Lille in 1827. He exhibited at the Salon
from 1870 onwards, practising chiefly at Lille. He
died at Trouville in 1885.

SAUVAN, Philippe, painter and engraver, born
at Aries in 1695, studied under Parocel and in
Italy. He painted several altar-pieces in Aries
Aix, and Avignon ; also portraits. His son Pierbb
and his daughter Gabrielle also painted. He
died at Avignon in 1789. There are examples of
his work in the Museum of Avignon.

SADVfi, Jean, a French engraver of little note,
who, according to Basan, flourished about the end
of the 17th century. He engraved after Guido, P.
da Cortona, &c., also some portraits.

SAUVE, Jean Jacques Theodore, a French en-
graver and litliographer, was born in Paris in 1792.
He was a pupil of David, and has left some litho-
graphs after heads by Raphael in the Vatican
frescoes. He died in 1869.

SAVAGE, John, an English engraver, who re-
sided in the Old Bailey about 1680. He engraved
the portraits of many convicted malefactors, also
those of some who fell in a better cause, as Walpole
puts it. Among his portraits we may name those
of:

William III. and Qut-en Mary

Bishop liatimer.

John Alasco.

AJgeruon Sidney.

Archibald Campbell, Earl of Argyle.

Henry Cornish, SlieritT of London.

Sir Edmundbury Godfrey.

John Gadbury, Astrologer.

James Fitzruy, Duke of Monmouth.

Sir Thomas Armstrong.

Sir Henry Ohauncey, Antiquary.

Chief Justice Sir Henry PoUexfen.

Arthur, Earl of Torriugton.

Charles Leigh, M.D.

He also engraved some of the plates for Tempest's
'Cries of London,' and Evelyn s 'Numismata.'

SAVAGE, William, painter and engraver, was
born about 1785. He studied in the Academy
Schools, and published ' Practical Hints on Decor-
ative Painting, with Illustrations engraved on wood
and printed in colours by the type press.' London,
1822.

SAVALO, , a skilful illuminator of the 12th

century, practising at Arras about 1180. In the

Library at Valenciennes there is a Gospel finely
illuminated by him.

SAVART, Pierre, French engraver, born in
Paris in 1750. He produced several plates in the
neat, iinished style of Ficquet ; among them the
following portraits of illustrious Frenchmen :

hauls XIV.; after Kigaud. 1771.

Louis de Bourbon, Prince de Cond^ ; after Le Juste.

1776.
Jean Baptiste Colbert ; after P. tie Champagne, 1773.
J. B. La Bruyere ; a/ttr <St. Jean. 1778.
Pierre Bayle ; after the same. 1774.
Jean Eacine ; after ^Santerre. 1772.
Nicholas Boileau Despreau.^ ; after liigaud ; an oval,

1769.
Rahe\a\s\ after Sarraheit. 17(37.
Cardinal Kichelieu ; after P. de Champagne.
Nicholas de Gatiuat, Marcchal de France.
Comte de Buffon ; after Drouais. 1776.
Bossuet ; after liigaud. 1773.
D'Alembert; after Catherine Lusuiier. 1780.
Montesquieu. 1779.

SAVARY, AUGUSTE, painter, born at Nantes in
1799, a pupil of Boissier. He exhibited many
French landscapes at the Salon from 1824 to 1859.

SAVERY, Jakob, the elder, born at Courtrai,
practised at Amsterdam about 1550. He was the
father of Jakob Savery the younger, and the
master of Willem van Nieulant. He excelled in
painting animals, birds, and fishes.

S.WERY, Jakob, the younger, p.iinter, was
horn at Courtrai about the year 1545, and was a
disciple of Hans Bol. He painted landscapes and
animals, which he finished with great labour and
patience, though in a hard, dry style. He died of
the plague at Amsterd.im in 1602. At the Hague
there is a ' Kermesse of St. Sebastian ' by him.

SAVERY, Jan, a Flemish painter and engraver,
born at Courtrai in 1597. According to Huber,
he was the nephew of Roelandt Savery, and was
probably his scholar, as he painted landscapes in
a similar style. He died in 1655. We have several
etchings by this artist, from his own designs, among
which are the following:

A set of six mountainous Landscapes, with figures, in-
scribed J. Savery^ fee. Nic. de Clerc. exc.

A Landscape, with a Stag-hunt ; J. Savery, fee. H.
Hondius.

A Landscape, with Samson killing a Lion ; J. C. T'iss-
cher^ exc.

SAVERY, Roelandt, the son of Jakob Sarery the
elder, was born at Courtrai in 1576, and instructed
by his brother, Jakob the younger. It has been sup-
posed that he was afterwards a discljile of Paul Brill ;
but this cannot be reconciled with chronology, as
that artist had left Flanders for Italy, where he
passed the remainder of his life, before Savery was
of an age to profit by his instruction. The resem-
blance of his style to that of Brill is not more ap-
parent than to that of Brueghel, and other Flemislj
landscape painiers of the time. Savery visited
France in the reign of Henry IV., by whom he was
emploj'ed in the royal palaces. Soon after his
return to the Low Countries, he was invited to the
court of Prague, by Rudolph II., in whose service
he passed a great part of his life. By the direction
of the Emperor he travelled through the Tyrol,
where the scenery was entirely to his taste. The
studies he made there were of great use in his later
works. After the death of the Emperor, he settled
at Utreclit, and died there in 16.39. Works :

Amsterdam. R. Museum. Orpheus.

„ ,. Landscape with Hunt.

Dresden. Oallery. Hunting » Roar

GIOVANNI GIROLAMO SAVOLDO

Hanfstiingl photo']

THE VENETIAN

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PAINTERS AND ENGRAVERS.

Drestlen. Gnllery, A Mountain Torrent

„ T-,e Ark of Noah.

,, Five other Lauilscapes.

London. Kat. Gallery, Orpheus charming the Beasts.

Munich. Pinakutkek. A Boar-hunt.

SAVERY, Solomon, (Savry,) a Dutch engraver,
bom at Amaterdam in 1594. From his having
engraved a few English portraits, he is said to
have visited this country, but it is not certain that
he did so. The following are his principal plates :

Charles I. with a high-crowned bat, a view of West-
minster in the background.

Oliver Cromwell. 1U49.

John Speed, the Historian.

Thomas, Lord Fairfax.

Christ driving the Money-changers out of the Temple ;
after Rembrandt.

SAVILL, — , was a painter living in London at
the time of the Restoration. He painted portraits
of Samuel Pepys and his wife, and also a miniature
portrait of the former, for which he was paid £3.

SAVILLE, Dorothea, an English portrait
painter. Slie practised in London in the first part
of the 17th century. Some of her works were
engraved by Hollar and Thomas Cross.

SAVOLDO, Giovanni Girolamo, was a native of
Brescia, born about 1480 — possibly as late as
1484-1485. Brescia at that time gave birth to
many of the best artists of the Venetian School —
notably to Girolamo Romanino, who was born,
like Savoldo, at Brescia about 148.5, to Bonvicino
or Moretto, Romanino's fellow-worker at Brescia
in 1621, and to Moretto's own pupil Moroni, born
about 1525. All these artists happen to be well
represented in the National Gallery.

Moroni's 'Brescian Nobleman' and ' Tailor' {Tay-
liapanni) are masterpieces of his silvery manner ;
and Savoldo's ' St. Mary Magdalen approaching
the Sepulchre ' is, in its own way, no less at-
tractive. This figure, with its mj'sterious charm
(which is repeated in the Berlin Gallerj'), is
characteristic of the artist, in his love of twiliirht
effects and the gleam of reflected light. She
seems less the devoted woman of the Bible story
than some fair Venetian, stepping down to her
gondola for the evening's rendezvous — this figure
with the lovely face peeping archly out beneath
the veil of white shimmering satin. Here too
appears just that romantic element which Savoldo's
art might have drawn from Giorgione ; just as
he shares the love of dim liglit, which appears
again in his ' Adoration of Shepherds ' in the same
(National Gallery) collection, with the later
Bassani. Savoldo's treatment of this subject
('Adoration of Shepherds'), set in a beautiful
Giorgionesrjue landscape, is peculiarly impressive
in his painting in the Turin Gallery. The colour-
ing here — -as in the beautiful painting mentioned
next — is cold and rather Brescian tlian Vene-
tian in character. To be noted next in the same
collection is his ' Holy Family' ; while the grave
sweetness of the Virgin's type reappears in a
signed and dated (15'J7) picture at Hampton Court.
The attendant Saints in the above painting of the
Turin G.allery are SS. Francis and Jerome ; ami
the present Director of that Gallery is of opinion
that both are by the same master, and that both
— as Lermolieff was the first to notice, though
neither of these interesting paintings are signed
— are by the Brescian artist, Savoldo. The Louvre
Gallery contains two male portraits (Nos. 1518,

1519) attributed to Savoldo : (1) Portrait of armed
man against a glass, who is said to be Gaston de
Foix — a ver)' clever portrait study ; (2) Grand por-
trait of unknown man, black cap, grey-green robe,
clean-shaved face, holds a letter in his gloved
right hand. More important is the fine signed
altar-piece of the Brera Gallery at Milan. The
'Virgin and Child' are represented with SS. Peter,
Dominic, and Jerome ; this work comes from the
church of St. Dominic at Pesaro. A study in
black chalk, for the head of the fine ' St. Jerome
in the Desert,' in the late Sir Henry Layard's Col-
lection, is also in the Louvre Gallery. In S.
Maria del Organo at Verona, in a side chapel on
left, is a ' Virgin and Child in the Clouds,' with SS.
Peter, Benedict, Zeno, and Paul. Aretino, in a letter
dated December 1548, mentions Savoldo as one
of the famous Venetian artists of that time, though
already touching the decline of his powers ; and
Cav. A. Venturi adds that the Aretine calls him
a fanciful (capriccioso) painter, alluding in this con-
nection especially to that ' Magdalen ' already
mentioned. Had "Romanticism" been invent. d
in Titian's age, the later epithet might have been
preferred. The ' Head of a Youth,' in the Borghese
Gallery at Rome, — a half-figure, Venetian in
feeling, with full hair and hand extended — might
be, according to Cav. Venturi, a study for the St.
John of the Berlin Gallery ' Deposition.' In any
case thi.s painting is a most interesting study —
superb in colour and strong in drawing, the rich
flesh tones contrasting efi'ectively with the white
linen and dark-coloured jerkin.

Savoldo was long resident at Venice, and his
'Adoration of the Shepherds' in S. Giobbe of
that city is of especial beauty. A replica of
this picture is in the Tosio Gallery of Brescia.
His name occurs twice in the pages of the 'Ano-
nimo,' where I find — in the excellent version
edited by Dr. Williamson — at Venice, in the house
of Messer Andrea di Odoni, 1532, "the large
figure of a woman, nude, lying down, painted on
the back of the bed by Gerolamo SavoMo of
Brescia"; and again, in the house of Messer
Francesco Zio at Venice, 1512 — "The canvas,
representing Christ washing the disciples' feet,
is by Giovanni Gerolamo of Brescia." These
two paintings have in neither case, to my know-
ledge, hitherto been traced, although one is said
to be in Bucharest. Coming to Florence, we find
among the Venetians in the second "Sala," the
'Transfiguration of Christ' in the presence of
SS. Peter, John, and James — a painting on wood.
Both this, and the same subject in the Ambrosian
Library at Milan, may be replicas of some
original work by tlie artist on this subject ; but
the visitor to Milan nmst on no account overlook
the grand Brera altar-piece mentioned above.
Aretino's verdict we have already seen, and it
must be added that both Giorgio Vasari and Ridolfi
(Delle Meraviglie dell' Arte) alike have a good
word for this Brescian artist.

If he is less distinctively Brescian, in his
technique and feeling, than his fellow-countrymen,
Romanino, Jloretto, or Moroni, if he comes nearer
to Giorgione and Titian in their glow of living
colour, he yet marks a transition from the purely
Venetian tradition. It is through his scenes of
twilight mystery and light imprisoned in the folds
of silk that we are a little later to reach those cool
silvery flesh tints of the great Brescian portraitist,
Gian Battista Moroni. S B

A BIOGRAPHICAL DICTIONARY OF

SA VOLINI,Cristofobo, painter, of ftieBulogneee
school, a native of Cento, and a pupil of Cristoforo
Serra. He painted a good picture of the patron
saint for the church of S. Colombia, at Rimini. He
was still living in 1678.
SAVONA, II Prete di. See GniDOBONO.
SAVOXANZI, Emilio, a nobleman of Bologna,
born in 1680, who attached himself to painting
when nearly arrived at manhood. He had many
masters ; among them Lodovico Carracci, Guido,
Guercinu, and Algardi, the sculptor. He resided
at Ancona, and at Camerino, where he died in
1660. His principal work is 'The Marriage of St.
Catharine ' at Camerino.

SAVORELLI, Gaetano. painter and draughts-
man, flourished at Rome from 1750 to 1775. He
is chiefly known as having made drawings from
Giovanni da Ud'me'sgrotteschim the Loggia of the
Vatican, from which Giovanni Ottaviani engraved.
SAVORELLI, SedastiaKO, a priest of Forli and
pupil of Cignani. He was practising in 1690, and
painted for the churches of Forli and its neigh-
bourhood.

SAVOYE, Daniel, portrait painter and etcher,
was born at Grenoble in 1644, and is said to have
been a pupil of Sebastien Bourdon. His signature.
D. S. sc, is found on a riposo. in which the Virgin
is seated near a fountain attended by three angels.
Some small etchings of soldiers, and of costumes
of the time of Louis XIII., bear the same initials.
In the Dresden Gallery there is a portrait of the
artist's wife by himself He died at Erlangen iu
1716.

SAVOYEN, Carel van, was born at Antwerp in
1619, and painted many subjects from Ovid in a
small size ; he was fond of painting the nude,
but his drawing was not equal to his colour. He
died at Antwerp in 1669 (? 1680).

SAXON, James portrait painter, a native of

Manchester, exhibited at the Acadeniy,_ 1795, and

then went to Edinburgh ; he returned in 1805 to

London, but afterwards spent some prolific years

in St. Petersburg. On his return he took up his

residence at Glasgow, but finally came to London,

where he died in 1816 or 1817. His portrait of Sir

W. Scott, holding a large dog, has been engraved.

S.iXTON, Christopbek, a native of Yorkshire

and a domestic in the service of Thomas Sekeford,

Esq., Master of Requests, is remembered for his

complete set of maps of the counties of England

and Wales, many of which he engraved himself,

while in others he was assisted by R. Hogenberg.

Augustine Ryther, and other engravers. M.aster

Ryther bore "the expense of the series, which was

published in 1579, and dedicated to QiK-en Elizabeth,

SAY', Frederick Richard, a popular portrait

painter of the time of George IV., and a constant

exhibitor at the Royal Academy. He was the

son of William Say the engraver, and his sister

Mary Anne was the wife of J. B. Papworth, the

eminent architect. He is believed to have been

born in 1827, and to have died in 1860, but neither

of these dates can be given with authority. His

best portrait is considered to be that of Sir E.

Bulwer Lytton, and many of his portraits were

engraved "by Samuel Cousins. His work is to be

seen at Drayton Manor and at Althorpe. It has

been confused with the early work of Lawrence, to

which it certainly bears some resemblance.

S.iY, William, an eminent engraver in mezzo-
tint, was horn at Lakenham, near Norwich, in
1768. He was left an orphan at the age of five
28

years, and was brought up by a maternal aunt.
Although he showed an early inclination for art,
he did not practise it as a profession till his arrival
in London, when he had attained his twenty-first
year, and was m.irried. He put himself under the
direction of James Ward, at that time chiefly an
engraver, and under his instruction produced his
first plate. He was indefatigable in the art, and
in 1807 he was appointed engraver to the Duke of
Gloucester. He engraved about 330 plates, a few
after the old masters, but the majority after modem
painters. Among them we may name the Dilettanti
Society, after Sir J. Reynolds (2) ; several for
Turner's River Scenery; sixteen plates for the
' Liber Studiorum ' ; two of ' Brigands,' after East-
lake ; ' Joseph and his Brethren,' after Northcote ;
and Hilton's ' Raising of Lazarus.' Many of his
plates remained unpublished at the time of his death,
which occurred on the 24th of August, 1834. The
British Museum possesses a complete set of hia
works.

SAYER, James, a political caricaturist, was
born at Yarmouth in 1748. He commenced life as
a clerk in an attorney's office, but came to London
in 1780. His works, which are about a hundred in
number, were in favour of Pitt and against Fox, and
it is said that the latter declared Sayer's pencil had
done him more harm than all the attacks he had
had to face in Parliament. Pitt gave him a clerk-
ship in the Court of Exchequer, and in time he
became Marshal of the Court, Receiver of the Six-
penny duties, aud one of the Cursitors. On Pitt's
death he published his ' Elijah's Mantle,' which
was at one time ascribed to Canning. He died in
London in 1823.

SAYERS, Reuben W., was born in 1815. He
made his debut at the Academy in 1846, and con-
tinued to be an occasional exhibitor until 1867.
He also exhibited at the British In:!titution and
the Society of British Artists, usually domestic
genre. His exhibited works number thirty-four.
Some churches possess large paintings of religious
subjects which he presented to tliem. He died in
1888.
SAYTEK. See Seuteb.

SAYVE, (or SAIVE,^ Jean Baptiste de, called
Jean de Namur, from his birthphice. The earliest
known works by him dated from the year 1576.
He was for a time painter to the Municipality of
his native town, which he left for Brussels, where,
in 1590, he was painter to the Duke of Parma,
Shortly afterwards he returned to Namur, and
finally settled at Mechlin, where he was largely
employed by the Guilds, and where he died in
1624. Works :

^^""''oalf"^" I Martyrdom of S, Catharine.
Church ofS. \ jj^^3 ^j (j^ii^th
Hombaut, )

„ Baptism of Christ.

Cerch Arch^olo- ) .j,j^^ Judgment of Cambyee*.
Portraits of the 'Echevins'

Mechlin.

Namur.

gique.

{Diptych).

His son, Jean Baptiste, also practised painting.

SAZJEPIN, NicoLAi KoNSTANTiNOwncH, a Rus-
sian amateur of great promise, whose ' Nun in the
Choir of a Church' excited much attention at
Petersburg in 1853. He was the colonel of a
Russian Engineer Battalion, and fell at the taking
of Sebastopol, in 1855.

SBARBI, Antonio, a Cremonese painter, was

WILLIAM SAY

[From the mtz::otint after Devis

QUEEN CAROLINE

PAINTERS AND ENGRAVERS.

first a scholar of Bernasconi at Milan, and after-
wards studied at Bologna under Lorenzo Pasinelli.
He was invited to Piacenza by the Duke Ranucci
Farnese, for whom he painted many pictures. He
distinsruished himself by his representation of
animals. He died at Milan early in the 18th
centurv.

SBINKO DA TROTINA, a miniaturist of Prague
in the 14th century.

SCABARI, NiccoLO, painter, bom at Vicenza
in 1735, painted in the style of the Bassani. His
works are to be found in the churches of Vicenza,
Padua, and Verona. He died in 1802.

SCACCIANI, Camillo, called Carbone, an Italian
painter of the Roman school, who flourished to-
wards the close of the 18th centurj-. He was a
native of Pesaro, where there is a ' S. Andrea
Avellino ' by him in the Duonio.

SCACCIATI, Andrea, an Italian designer and
engraver, born at Florence about the year 1726,
was a pupil of Schwej-khard. In 176G he pub-
lished, jointly with Stefano Mulinari, a set of forty-
one plates in aquatint, from drawings by distin-
guished masters in the collection of tlie Uffizi.

SCACCIATI, Andrea, was bom at Florence in
1642, and was first a scholar of Mario Balassi, but
he afterwards studied under Lorenzo Lippi. He
painted animals, flowers, and fruit, and was patron-
ized by the Grand Duke of Tuscany. He was still
living at Florence in 1704.

SCAGLIA, Girolamo, a native of Lucca and ■
painter of the Florentine school, was sometimes
called II Parmigianino. In 1672 he was at work
in Pisa.

SCAIARIO, Antonio, a painter of Bassano, one
of the later disciples of the school of the Bas-
sani, was the pupil and son-in-law of Giunibatista
da Ponte. In allusion to his birth and training,
he occasionally signed his works Antonio da Ponte,
and Antonio Bassano. He died in 1640.

SCALABRINO, Lo, a scholar of Sodoma, showed
great poetical invention in painting grottesche. As
a disciple of Bazzi he would rank among the
Sienese painters ; but he was accustomed to sign
himself Scalabrimia Pistoriensis. so that Pistoja
seems to have been his birthplace. !

SCALBERG, Pierre, a French painter and en-
graver, who resided in Paris about the year 1638.
Of his work as a painter little is known, but he
has left a few etchings, some from his own designs,
others from well-known pictures, e. g. :

Venus and Cupid ; signed and dated. 163S.

The Eutombment of Christ ; after Raphael.

The Battle of Constantine ; after the same.

Diana and her Nymphs ; after Domeyiichino.

Robert-Duraesnil, torn, iii., has ascribed forty-seven
prints to Scalberg, who is said to have worked as
late as 1650.

SCALBERGE, (or Scalle Berge,) Frederic, a
Flemish engraver, who flourished from 1623 to
1636, as appears by the dates on his plates. This
engraver, who signed his name sometimes Scal-
berge, and sometimes Scalle Berge, must not be
confounded with Pierre Scalberg.

SCALIGERI, Bartolo, a native of Padua, was
born about 1605, but settled at Venice, and was a
scholar of Alessandro Varotari. Several altar-pieces
by him are still preserved in Venice, among which
that in the church of Corpus Domini is perhaps the
best. The date of his decease is not recorded.

SCALIGERI, LnciA, niece of Bartolo Scaligeri,
was born at Venice in 1637. She distinguished

herself by literary and linguistic powers, and was
an excellent musician. In art she was a pupil of
Alessandro Varotari, and painted several pictures
for the churches of Venice. She died in 1700.

SCALVATI, Antonio, painter, was born at
Bologna in 1599, and w.as a scholar of Tommaso
Lauretti. He accompanied his master to Rome, and
assisted him in the Sala di Constantino. Scalvnti
was employed by Sixtus V. in the library of the
Vatican, and excelled in portraiture, painting
Pope Clement VIII., and many personages of hit-
time. He died in 1622.

SCAMINOSSI, (ScHiAMONOssi, Sciaminossi,)
Raphael, a native of Borgo S. Sepolcro, born about
1570, was a scholar of Raflaellino dal CoUe. He
painted history with success, but is more known as
an engraver than as a painter. He sometimes used
a monogram composed of the letters R. A. S. F.

thus tQ^ • He was still living in 1620. Among

his plates we may name;

The Virgin and Child ; inscribed Raphael .Schatmnoasius

Pictor,4c. 1613.
St. Francis preaching in the Desert ; also froyii his oini

design. 1604.
A set of fourteen plates entitled Mysteria rosarii

Beata Maria Virginia. 1609.
The Sibyls ; a set of upright plates ; from kis oxen

designs.
The Stoning of Stephen ; after Luca Camhiaso.
A Biposo ; after Federigo Baroccio.

SCANDRETT, Thomas, architectural draughts-
man, born at Worcester in 1797. In 1825 he ex-
hibited two portraits at the Academy, and was an
occasional exhibitor of architectural drawings. He
died in 1870.

SCANNABECCHI, Filippo, called Lippo di Dal-
MASio, and also Lippo dalle Madonne, from the
numerous pictures he painted of tlie Virgin and
Child, was one of the earliest painters of the
Bolognese school. He was the son of Dalmasio
ScANNABECCHi, who painted at Bologna early in the
14th century. There is ati example of his art in
the gallery at Bologna. Lippo is said to have been
a pupil of Vitale da Bologna, and to have practised
from 1376 to 1410. His pictures are now exceed-
ingly scarce, though Malvasia says that a family
used not to be considered wealthy at Bologna unless
it possessed one of his Madonnas. The dates of his
birth and death are alike unknown, but he made
his will in 1410. In the National Gallery, London,
there is a ' Madonna and Child in Glorj-,' signed
lAppus Dalmasii pinxit. It is a very poor pro-
duction.

SCANNABECCHI, Teresa. See Muratori.

SCANNARDI D'AVERARA, a painter practising
at Bergamo towards the close of the loth century.
No record of liis life and works has survived, but
we learn from an ancient deed preserved at Bergamo,
that in 1477 he was working as partner with Troso
da Monza. Messrs. Crowe and Cavalcaselle sug-
gest that the fragments of frescoes detached from
the ruins of Santa Maria delle Grazie, and deposited
in the Bishop's palace at Bergamo, may have been
a product of this collaboration.

SCANNAVINI, M. Aurelis, (Scannavesi,) was
bom at Ferrara in 1655. He was first a scholar
of Francesco Ferrari but afterwards vi.sited
Bologna, where he studied for some time under
Carlo Cignani, of whom he became one of the most
distinguished disciples. His most considerable
work is in the refectory of the Dominicans, at
Ferrara. It represents the Life of St. Dominic, in

2'J

A BIOGKAPHICAL DICTIONARY OF

fourteen pictures. There are many pictures by
Scannavini in the churches at Ferrara, among others
tlie 'Annunciation,' in the church of S. Stefano ;
' S. Tommaso di Villanova distributing Alms to the
Puor,' at the Agostiniani Scalzi ; and ' S. Brigida
fainting before a Crucifix, supported by an Angel,'
in S. Maria della Gr.izie. He died at Ferrara in
1698.

SCARAMUCCIA, Giovanni Antonio, a painter
of Perugia, born 1580, was a pupil of Roncalli, but
imitated the manner of tlie Carracci, and painted a
large number of pictures for churclies in Perugia,
where they still exist. They are now very dark.

SCARAMUCCIA, Luigi Pellegrini, called II
Perugino, was born at Perugia in 1616. He was
the son of Giovanni Antonio Scaramuocia, by whom j
he was instructed in the elements of design ; but ]
he afterwards frequented the school of Guido, and :
is said to have also studied under Quercino. He
painted several pictures for the public edifices of
Perugia, Milan, and Bologna. He died at Milan in ;
1680. Works : I

Bologna. Fal. PubUico.
Milau. Cli.of San Marco.

Coronation of Charles V.
St. Barbara.

We have a few etchings by this artist, in which
he seems to have imitated Guido. They are :

Christ crowned with Thorns ; after Titian.

St. Benedict praying ; after Lod. Carracci.

Venus and Adonis ; after An. Carracci. i

The Virgin; after the same.

SCARAMUZZA, Francesco, Italian painter ;
born July 15, 1803, at Sissa, near Parma, where ;
he studied, being greatly influenced by the work :
of Correggio. He subsequently went to Rome,
where he found wider scope fur his talent as an
illustrator, and his pen-drawings served to fami-
liarize the public with his name, notably his I
illustrations of Dante, thouirh he seemed to copy
the manner of Cham and of Dor6 in many of these, j
Tlie Parma Gallery possesses not a few examples 1
of his work. He died in 1886.

SCARPACCIA. See Carpaccio, Vittore.

SCARSELLA, Ippolito, called Lo Scarsellino,
painter, was born at Ferrara in the year 1551. He
was the son of Sigismondo Scarsella, from whom
he received his first instruclion, but he afterwards '
visited Venice, where he became the scholar of
Giacomo B;i8sano, and studied the works of Paolo
Veronese. From Venice he went to Bologna, and !
afterwards to Parma. On his return to Ferrara, i
he was employed in painting pictures for the I
churches, and there is scarcely a public building in ]
the oit}' which does not possess some of his works.
Scarsellino died at Ferrara in 1620. Pictures :

Dresden. Gallery. Fliglit into Egypt. ]

„ ., The Virgin and Child.

Ferrara. 5. Maria Nuova, The Annunciation.

„ „ ' The Visitation.

„ „ The Assumption.

„ „ Marriage at Caua.

„ Costahili Gallery. Virgin and Child.

„ Count Mazza. The Last Supper.

„ Pinacoteca, The IMarriage at Cana.

„ *S. Benedetto. The Assumption.

„ S. Paolo. Frescoes.

Benedictine > ^^^^tj^^ „f ^^e Kings.
Afoaastcry. J °

Florence. UJizi. Judgment of P.iris.

„ „ Virgin and Child.

Madrid. Museum. Virgin and Child.

SCARSELLA, Sigismondo, called Mondino,
painter, was born at Ferrara in 1630, and was
30

educated for three years in the school of Paolo
Veronese, of whose style he was a constant, though
not a very successful, follower. There are many
works by him in the public edifices at Ferrara, in
which city he died in 1614. His chief picture is
the ' Martyrdom of St. Catharine ' in the Costabili.

SCARSELLO, Girolamo, painter and engraver,
a Bolognese, and pupil of Gessi, was practising
about 1660. He worked for a time at Milan, and
subsequently at Turin, about 1670.

SCHAAL, Louis Jacques Nicolas, painter and
engraver, was born in Paris, February 13, 1800.
He was a pupil of Daguerre and of Lethiere, and
entered the ficule des Beaux Arts in 1816. He ex-
hibited frequently at the Salon between 1824 and
1853, and was also the author of various treatises
on industrial art and design, of a ' Treatise on Land-
scape,' illustrated with twenty-four lithographs
(1824), and of a ' Project for the Regeneration of
the Western Empire by means of the Fine Arts,'
with eight engravings (1859).

SCHAARSCHMIDT, Friedrich, was born at
Bonn in 1863, and studied at the Diisseldorf
Academy and under Wilhelm Sohn. He painted
landscapes, the scene of which was often laid in
Italy, but is best known by his writings on artistic
subjects. He was Conservator of the Diisseldorf
Academy, and died in 1902.

SCHACHMANN, Karl Adolph Gottlieb,
(GoTTLOB, Gottfried,) Freiherr von, painter and
etcher, was born at the Schloss Hermsdorf in Saxony,
and travelled much in Norway and Sweden. His
pictures are to be found in Saxony. He died on
the estate of Konigshayn in 1789.

SCHADE, Rudolph Christian, draughtsman
an. I painter, born at Hamburg about 17G0, studied
successively under Tischbein, Ehrenreich, and Juel
of Copenhagen, and practised portrait-painting at
Berlin, Dresden, and Hamburg. Many of his iior-
traits have been engraved. He died at Hamburg
on May 16, 1811.

SCHADOW, Wilhelm Friedrich von, son of
Johann Gottfried Schadow, the architect, was born
at Berlin in 1789. He studied under his father and
Weitsch, and later under Schirm. In 1810 he went
with his brother Rudolph to Rome, and joined the
' Nazarenes,'and in 1814 became a Roman Catholic.
In 1819 he became a Professor in the Academy at
Berlin, and acquired great reputation as a teacher.
In 1826 he was appointed to succeed Peter von
Cornelius as Director of the Diisseldorf Academy,
whither his pupils, J. Hiibner, Hildebrandt, Sohn,
and K. F. Lessing, accompanied him. He success-
fully reorganized the Academy, and in 1829 founded
the Art Union of Westphalia. From 1836 onwards
lie was the object of muny attacks, being accused
of professional intolerance, and of favouring religious
art to the exclusion of other genres. In 1840 he
revisited R(.me on account of his health, and in
1859 he resigned his position. Gifted with more
taste than originality, and with more technical
power than poetic sentiment, he paid great attention
to the finish of his pictures. His portraits are
among his best works. In 1842 he was created
honorarj- Doctor of Philosophy of the University of
Bonn, and in 1843 lie was ennobled. He was a
Member of the Berlin Academy, and of the Insti-
tute of France. Wliile engaged on his last work
he was attacked by amaurosis and became blind.
In spite of a successful operation he painted no
more. He died at Diisseldorf in 1862. His principal
works are :

PAINTERS AND ENGRAVERS.

Ansbach. Cathedral. A Chri^t.

Berlin. Xat. Gallery. Christ on the Eoad to Emmaus.
M Half-leugth portrait of a

"Woman.
M .> Portrait group of Thorwald-

sen, Wilhelm, and Rudolf
Schadow.
., Theatre, A Eacchnual.

., The Werder Church. The Four EvaugeUsts.
Diilmen, West- J'arish ) „ ^ t, ,

phaiia. Church, j '^='**'' D°l°™^«-

Frankfort. Museum. The Wise and Foolish Virgius.

Hauover.Jfarket Church. Christ on the Mount of Olit'es.
Munich. Pinakothek. The Holy Family.
Rome. Casa Ijartoldi. Joseph's Bloody Coat. (Fresco.)
M „ Joseph in Prison. (Do.)

Heaven, Purgatory, and Hell, an allegory ; his last work.

SCHAEKEN, Wilhelmus, painter, born at
Weerd in 1754, was a pupil of Borrekens, and the
master of van Bree. He spent two years in Italy
after a previous sojourn of twelve years in Antwerp.
His principal pictures are a 'Virgin,' and a 'Dead
Christ Iviug in the Grave.' He died at Antwerp
in 1830."

SCHAERER, H. L., engraved several small
landscapes, which he marked either with this

cypher, jfe^. , or with his name, thus, H. L.

Schaerer sculp. On a few plates he gives the
initials of his Christian names as A. L. His chief
prints a_re copies of Sachtleven and J. Saenredam.
SCHAFFER, Adalbert, painter, born at Gross
Karoly in Hungary in 1815. received his education
in Vienna, and painted still-life, silver-plate, wine-
glasses. &c. He died at Diisseldorf in 1871.

SCHAFFER, Eogen Eduaed, engraver, born at
Frankfort in 1802, entered the Stadel Institute,
where he studied under Ulmer. He afterwards
worked at Munich and Diisseldorf. Under Cor-
nelius, he engraved his Dante's 'Paradise,' and
the portrait of Niebuhr. In 1826 he returned to
Munich, and in 18.39 was appointed teacher of en-
graving at the Stadel Institute. In 1844 he went
to Florence and engraved the ' Madonna della Sedia.'
Between 1852 and 1856 he wa.s in Rome, but re-
turned to Frankfort, where he died in 1871. Of his
plates we may name :

The Madonna della Sedia; after Raphael.

The Madonna del' Gran Duca ; after the same.

The Lower World ; after Coj^elius.

The Judgment of Paris ; after the same.

Rome J and Juliet ; after the saute.

The Rape of Helen ; after tlie same.

Two scenes from Shakespeare's ' Tempest ' ; after
Kaulhach.

Eupbrosyne ; nfttr Steinle.

Genevieve ; after .^teinhruck.

The Erl Kom'g ; after Nelier.

The Introduction of Christianity ; after Veit.

Pot-try ; after Raphael {left unfinished).

Madonua di Terranuova ; after the same (ditto).

Sacred and Profane Love ; after Titian (ditto).

SCHAFFNABURGENSIS, Matthahs, an en-
graver on wood, who executed the cuts for a Bible,
printed at Wittemberg in 1545. He marked his
prints with the initials M. S. on a tablet. By
some he has been supposed to be identical with
Matthaus GrOnewall).

SCHAFFNER, Martin, a painter of Ulra, who
flourished in that ci;y, as appears by the records
from 1508 to 1535. He painted historical subjects
and portraits, and ranks among the good German
masters of the period. Some of his best pictures
are in the gallery at Schleissheira. His figures are
noble, yet delicate, full of feeling and expression

in the heads, but somewhat defective in colour.
Several of his marks and dates are given by Brulliot.
His monogram is an M with an S imposed on it. or
the letters MSMZV, interpreted Martin Sckaffner
Mahler zu Ulm, as on the ' Adoration of the Magi,"
formerly in the Wallerstein collection, but now
in that of the King of Bavaria. His dates are
said to range from 1490 to 1521 Schaffner's works
were formerly attributed to Martin Schongauer,
on account ofthe monogram MS. Chief works :

Augsburg, )

Schleissheim,

London. Buckingham

Palace.
Munich. Gallery.

Scenes from the Fassion.

I Child Christ learning to walk.

The Annunciation.

The Presentation in the
Temple.

The Descent of the Holy Ghost.

The Death of the Virgin.
(These pictures, which form
Schaffner's masterpiece, were
originally organ doors in the
conveut of Wettenhausen,
near Ulm.)

Two Portraits.

Nuremberg. Germanic
Museum.
„ Moritz-Capelie.
Stuttgart. Mus. of An-
tiquities.
Ulm. Great Church.

Vienna.

> Altar-piece.

Adoration of the Magi.
) Four large pictures, dated 1510

] to i5iy.

Saints and the families of
Christ's ancestry.
Gallery. Several Pictures.

SCHAFLER, (Schaffler, Scheffler,) Chris-
TOPH Thomas, painter, was born at Augsburg about
1700. He was of the Roman Catholic faith, and
became for a time a lay-brother of the Order of
Jesus, but returned to a secular life. He painted
in oil and in fresco many pictures for churches,
amongst which we may mention his ' Death of St.
Benedict,' in the clmrcli formerly belonging to the
Convent at Ettal ; and works in the monastery of
S. Ulrich at Augsburg, in the Capuchin church at
Eichstadt, in the old chapel at Ratisbon, and in the
'' Congregations-Saal " at Ingolstadt. He made
many designs for book illustrations. He died at
Augsburg in 1756.

SCHAGEN, GiLLls van, a Dutch painter, bom
at Alkmaar in 1G16. He was first instructed in
art by Solomon van Ravestein, but was afterwards
a scholar of Pieter Verbeek. When he was twenty-
one years of age he went to Dantzic, where he
resided some time, and painted pictures of Dutch
kitchens and conversations, in imitation of the style
of Ostade. He also painted portraits with success,
both at Daiitzic and Elbing ; among them was a
portrait of Stanislaus, King of Poland. After an
absence of three years, he returned to Holland,
but his restless disposition led liiiri to visit France,
where he was employed in copying the works of
the best Italian and Flemish painters, for which he
posse.ssed a particular talent. On his return to
-•Vlkmaar he painted a picture of Admiral van
Tromp's victory over the Spanish fleet. He has
left one etching, a cottage scene, with an old man.
I'here is a picture ascribed to him in the Bridgewater
Gallery. Hedied at Alkmaar in 1668.

SCHAUFELIN, Hans, the son of Hans Leon-
hard Schiiufelin, left Nordlingen in 1542. and settled
in Freiburg. To Hans are now attributed many of
the weaker works formerly assigned to the father
He died in 1582.

SCHAUFELIN, Hans Leonhard, (Scheufpelin,
ScHAnfFELam, Schetffelin,) bom at Nuremberg

A BIOGRAPHICAL DICTIONARY OF

in 1490, was the pupil of Albrecht Diirer, of whose
style he caught many of the beauties. He had a
rich imagination, much true feeling, an intelligent
appreciation of drapery, and much taste in exe-
cution. In 1507 he designed two wood-engravings
for Ulrich Pindter's ' Speculum passionis.' He
also drew the illustrations to the 'Theuerdanok ' of
the Emperor Maximilian, and made twenty designs
for a ' Hochzeittanz.' In 1515 he was made burgher
of the town of Nordlingen, and, on visiting
Nuremberg, was recalled to Nordlingen by the
magistrates. He died at Nuremberg in 1540. Of
his works we may name :

The Siege of Bethulia ; a fresco in the Torm-hall oj

Nbrdli fiyen.
A Last Supper ; in Ulm Cathedral.
The Dead Christ ; in the Cathedral at Nuremberg,
A Desceut from the Cross; in St. Georye's Church,

Nuremberg ,
Coronatiou of the Virgin (in 16pauels, with 291 figures) ;

ill the Church at Anhausen.
Death of the Virgin ; in Munich Pinakoihek.
The Virgin dying receives a Palm of Victory from an

Angel ; in the same.
The Coronation of the Virgin ; in the same.
Christ on the Sea of Galilee saving St. Peter ; in the

same.
Christ crowned with Thorns ; in the same.
Christ on tlie Cross ; in the same.
Christ on the Mount of Olives ; in the same.
The Visitation ; National Gallery., Dublin.
The Last Supper; Berlin Museum.
Noli me Tangere ; Cassel Gallery.
Portrait in tlie possession of the Duke of North -

nmberlaud.

Schaufelin did not etch himself. He frequently
marked his works with a monogram composed of
his initials and a shovel, a rebus on his name.

SCHALCH, JoHANN Jacob, a landscape painter,
was born at Schaffhausen in 1723, and was a
scholar of Schnaezler, and of an artist of the name
of Hamilton, at Augsburg. He visited Holland
and England, and died in 1770.

SCHALCKE. See Van der Schalcke.

SCHALCKEN, Godfried, was born at Dordrecht
in 1643. His fixther was rector of the college at
Dordrecht, and desired to bring him up to literary
pursuits, but becoming alive to the boy's dis
position for painting, he placed him in the studio
of Samuel van Hoogstraten, whence he migrated
to that of Gerard Douw, under whom he acquired
delicacy of finish and some skill in light and shade.
He remained with Douw until he had established
a certain reputation by painting small pictures of
domestic scenes, chiefly candle-lights. He after-
wards attempted to expand his style by the study
of Rembrandt, but soon returned to his early manner.

To give the most natural effect to his candle-
light pieces, he is said to have adopted the follow-
ing system : he placed the object he intended to
paint in a d.ark room, with a candle, and looking
through a small hole, painted by day what he saw
by candle-light. His small portraits were very
popular, and he had painted the principal families
at Dordrecht, when he was encouraged, by the
extraordinary success of Kneller, to visit England.
Here, however, his success was small. There was
no room for him. His manners, too, were against
him, and many stories of his boorishness are told
by the old writers. On his return to Holland he
settled at the Hague, where he continued to practise
his art with success, until his death in 1706. The
chief merit of Schalcken consists in the neatness
of his finishing, and the perfect intelligence of his

chiaro-scuro. His touch is mellow, but too fused,
and his colour warm and golden. Works:

Amsterdam. R. Museum.

Antwerp.
Berlin.
Brussels.
Dresden.

Museuvi

Museum.

Museuvi.

Gallery

Glasgow.

Gallery

Hague.

Museum.

London. Nat. Gallery.

„ Dulwich Gal.

„ Buckingham Pal.

Madrid.
Munich.

Paris.

Museum.
Gallery.

Louvre.

Portrait of Wilham III. of

England.
Every one to his Fancy.
The Smoker. (Ami fnur more.)
The Two Ages. 1673.
Child Angling.
Cliildren melting wax.
Artist examining a bust of

Venus by caudle-light.
Old Woman reading ; life-size.
Three Pictures of Girls with

candles.
AVoman in Bed, putting out

the candle.
A Lady at her Toilet bv candle-
light.
Portrait of WiUiani III. l,And

three others.)
Lesbia weighing Jewels against

her Sparrosv.
Old AVoman scouring a pan.
The Duet.
Soldier giving Money to a

AVoman (candle-light).
Ceres at the Peasant's Cottage.
Interior with Figures. {A

masterpiece.)
Mau reading by candle-light.
The Five AA'ise and Five Foolish

Virgins. 1700.
A Holy Family.
The Penitent Magdalen.
One Girl trying io blow out the

candle of another.
A Holy Family.
Ceres in search of Proserpine.

[And tiro more.)
The Barber.
Old Man reading.

Petersburg. Hermitage.
Vienna. Gallery.

His sister and pupil, Maria, practised at Dor-
drecht.

SCHALCKEN, Jakob nephew and pupil of God-
fried Schalcken, painted in the same style, so that
his works have been mistaken for those of his
uncle.

SCHALK, Heinrioh, a miniature painter of some
repute, born at Frankfort in 1792, died at Carlsruhe
in 1834.

SCHALL, Joseph, draughtsman and miniaturist,
was practising at Breslau from 1810 to 1820. He
worked principally in Indian ink, chalk, and pen
and ink.

SCHALLER. Anton, an elder brother of Johann
Nepomuk Schaller, the sculptor, was bom at Vienna
in 1772. He was for some time a painter on por-
celain, but afterwards took to oil, and became pro-
fessor of anatomy in the Academy at Vienna.
He painted good miniature portraits. He died at
Vienna in 1844.

SCHALLER, Eduard, painter, son of Anton
Schaller, was born at Vienna in 1802, and attended
the Academy in that city. He travelled much,
but was domiciled at Vienna, where he died in
1848.

SCHALLER, Ernst Johannes, German painter;
born at Wasungen (Meiningen) in 1841 ; at the
age of sixteen went to Weimar and became a pupil
of Preller. As a painter of animals he showed
special talent, which led hiiu to make careful and
exhaustive studies in the Zoological Gardens of
Dresden and Berlin. He subsequently became
professor at the Technical High School and the
Art School at Berlin. His works include ' Tiger
im Kampf,' ' Lowin mit ihren Jungen,' ' Bacchus-

PAINTERS AND ENGRAVERS.

zu:;,' and 'Psyche.' He also had a share in the
•decoration of several of the public buildings at
Berlin and Bresluu, notably illustrating the legend
■of Prometheus in the cupola of the Silesian Museum
at Breslau. He died at Coburg, June 25, 1887.

SCHALLHAS, Carl Philipp, landscape painter
and engraver, bom at Presburg in 1767, was a
.pupil at the Vienna Academy, of which, in 1792, he
was appointed professor of landscape painting. He
died at Vienna in 1797.

SCHALTZ, Damiel, a German painter and en-
graver, born at Dantzic, died in 1686. He excelled
in portraits, and in the painting of animals.

SCHAMPHELEEK,EDMONDDE,Belgianpainter;
born at Brussels in 1824 ; became a pupil of E. de
Block. He was for many years established at
Munich, where he painted landscapes and produced
several etchings. Of his works we may make
mention of the following : ' Der alte Rhein bei
■Gouda,'now in the Brussels Museum ; ' Abend-
landschaft,' in the Hamburg Kunst-Halle ; and
* Emte,' in the Stettin Museum. He obtained the
Dunkerque gold medal in 186-1, the Brusse's gold
medal in 1866, the Berlin gold medal in 1872, and
that of Paris in 1877. He died at Molenbeek,
March 12, 1899.

SCHAPFF, JoBQ, according to Heineken, exe-
cuted the cuts for a block-book on Chiromanc}' by
Hartlieb, with the date 1448 upon it. In his ' Idea
for a complete Collection of Prints,' Heineken has
given a copy of one of these cuts, and nothing could
be more rude. The name of the engraver was
inscribed on one of the leaves, at the bottom, 3iotg
Scfjapff in augsbourg. Zani says he was Btill at
work in 147.S.

SHAPPER, (or Shaper,) Johann, a German
painter, native of Harburg, who settled in 1640 at
Nuremberg, where he devoted himself principally
to painting upon glass, ornamenting goblets, jugs,
and bowls with small landscapes, battle-scenes, or
coats-of-arms, which he executed with much
delicacy and finish. Examples are to be seen in
the collections of Berlin and Dresden. He died at
Nuremberg in 1670.

SCHARER, JoHAN.v Jakob, born at SchafTliausen
in 1676, was a portrait painter, who practised also
as an architect and modeller. He died in 1746.

SCHARF, George, senior, was born in 1788 at
Mainburg, near Munich, and was the first success-
ful practitioner of lithography in England. He
studied in Paris and Antwerp. In 1815 he was
attached to the British army throughout the
"Waterloo campaign, and in 1816 came to London.
There he was soon largely engaged in making
drawings for scientific works, and for the Trans-
actions of tlie Geological Society. His travels in
Belgium and France also afforded subjects for
•several drawings, and he painted pictures of a
'Sitting of Parliament ' and 'The Lord Mayor's
Banquet.' Scharf became a member of the Insti-
tute of Painters in Water-Colours in 1834, but re-
signed two years later. There is a drawing of the
Sficiety's gallery in Bond Street, by him. at South
Kensington. He was the father of Sir George
•Scharf, at one time Director of the National
Portrait Gallery. Scharf died in London in 1860.

SCHARF, Sir George, son of the above, was
torn on December 16, 1820. He was educated at
University College School, and after studying
under his father and gaining medals at the Society
■of Arts, was admitted as a student of the Royal
Academy in 1838. His first published work was a

VOL. V. D

seriee of etchings entitled ' Recollections of Scenic
Effects,' illustrating the Shakesperian and classical
revivals by Macready at Covent Garden in 1838-9.
In 1840 he accompanied Sir C. Fellows through
Lvcia and Asia Minor, and was draughtsman to
the Government expedition of 1843. His drawings
of Lyciaii views are in the British Museum. After
his return lie exhibited in 1845 and 1846 six
pictures at tlie Royal Academy, and two at the
British Institution, but his chief work was in
illustrating books. Among these may be men-
tioned: Fellows' 'Lycia,' 1847; Murray's 'Illus-
trated Prayer-Book'; Macaulay's 'Lays of Ancient
Rome,' 1847; Mihnan's 'Horace,' 1849; Kugler's
' Handbook of Italian and German Painting,' 1851;
Bray's 'Life of Stotliard,' 1851; Layard's works
on Nineveh ; Dr. Smith's Classical Dictionaries ;
Keats's Poems, 1854; and Pollock's 'Dante,' 1854.
He was elected a Fellow of the Society of
Antiquaries in 1852, and at the Society's meetings
frequently read papers, seventeen of which, chiefly
on portraits, were printed in ' Archsologia." He
was appointed Art Secretary to the Manchester
Exhibition in 1857, and on the foundation of the
National Portrait Gallery in the same year was
appointed its first Secretary, becoming Director in
1882. His profound study of portraiture, and his
shrewdness and diligence in archieological research,
combined with his technical knowledge, enabled
him to do most valuable service in identifying
portraits and in correcting false titles. Among
his published writings, in addition to the essays
mentioned, were his 'Characteristics of Greek Art,'
prefixed to Wordsworth's ' Greece'; s 'Catalogue
of Pictures at Blenheim Palace,' 1860; and a
'Catalogue Raisonne of the Pictures belonging to the
Society of Antiquaries of London,' 1865. On being
compelled by illness to resign his appointment at
the National Portrait Gallery in 1895, Scharf was
made a K.C.B., and was appointed a trustee of the
Gallery, but he enjoyed liis honours for only a short
period, and died on April 19, 1895. M. H.

SCHARF, Johann, born at Vienna, July i3th,
1722, was a botanical draughtsman and painter of
great talent, who began life as a scullery boy in a
convent. His taste for design manifesting itself, he
managed to obtain work as a painter of wall-papers.
In this position he attracted the attention of the
botanist Jacquin, who took him info his service aa
a flower-painter. His unceasing application so in-
jured his health that he fell into a consumption, of
which he died at Vienna, October 5th, 1794.

SCHARNAGEL. FiiA.vz Sebastian, painter, born
at Bamberg in 1791, was a pupil of Sensburg, and
afterward of Geibel and Dorn. In 1811 he painted
at the Academy of Munich, but returned to Bam-
berg in 1815. and died there in 1831. His chief
work is the ' Martyrdom of St. Bartholomew.'

SCHATEN, Hduekt, an engraver who resided '
at Copenhagen, and engraved several portraits
during the latter half of the 17th century, between
1675 and 1694.

SCHATTENHOFEB, Amalir von, fWe Baadeb,
burn at Erding, in Bavaria, in 176.3, was a pupil of
Durr:er, at Munich, where she settled as a painter
in cravons. She also etched. She died at Munich
in 1840.

SCHAUBUOEK, Pieter, (Schokbroek,) painter,
born at Antwerp in 1542, was a pipil and imitator
of Jan Brueghel. He died at Antwerp in 1605.

Brxmswick. GatUry. John the Baptist preaching.
Caoael. Gall try. Burning of Troy.

A BIOGRAPHICAL DICTIONARY OF

Copenhagen. Gallen/. View in & Village.
Vienna. Gallery. .£neas and Auchises.

SCHAUFUS, a German painter and etclier, who
flourished at Dresden in tlie 18th century. He was
a pupil of J. E. Suhonaii, and painted miniatures,
He also engraved some plates after Vaudyck,
Mengs, and Solimena.

SCHAUR, Philip. This name is appended to an
etching of a bearded old man in spectacles, mending
a pen, witli an hour-glass and books before him.

SCHAW, William, There are some important
drawings of Holyrood Palace prei^erved in Scotland
amongst the Crowu property believed to be the
work of William Schaw, who was Master of Works
in the household of James \'I. He was born in
1550, and when about forty years of age was
employed in connection with some alterations to
Holyrood, and some repairs at Dunfermline. He
accompanied King James to Denmark, and some
sketches of Danish scenery, his work, are preserved
at Fredensborg Palace. lie attracted the attention
of Queen Anne of Denmark when in her own
country, and became her chamberlain in Scotland,
and the Queen erected a tomb at Dunfermline
Abbey to his memory. He died in April 1602, and
was a .man who appears to have been greatly
esteemed by all who knew him.

SCHEBOUYEFF, Wassilvi KonsjinsRn. painter,
born at Cronstadt, in 1777, was a pupil of the
St. Petersburg Academy. In 1803 he went to
Rome, where he painted a ' Decapitation of John
the Baptist.' In 1807 he returned to St. Peters-
burg, and became Professor of Historical Painting,
and afterwards Director, of the St. Petersburg
Academy. His ' St. Basil the Great,' ' St. Gregory,'
and ' St. John Chrysostom,' are in the cathedral
at Kasan ; his 'St. John in the Wilderness,' 'As-
sumption of the Virgin,' and ' The Patriot Igolkine,'
in the Hermitage. He died in 1865.

SCHEDLER, Johann Georg, (Schaedler,) painter
and etcher, was born at Constance in 1777. He
devoted himself first to miniature painting, but
afterwards took to landscapes in gouache. He
settled at Innsbruck, where he died in 1845.
SCHEDONE. See ScniDONE.
SCHEDRIN. See ScnTSCUEDRiy.
SCHEELE NEEL. See Molesaer, Cornelis.
SCHEERES, Henduik Jan, an obscure Dutch
painter, the pupil of Van Hove, was born at the
Hague in 1829, and died in 1864.

SCHEFFER, Arnold, the son of Henri Scheffer,
was born in Paris, and studied under his father
and Picot. From 1859 to 1870 he exhibited occa-
sionally at the Salon, chiefly scenes from French
history. In the Museum at Besanfon there is a
' Funeral Procession in honour of tlie Duke of
Guise,' by him. He died during a visit to Venice,
in 1873, while still young.

SCHEFFER, Ary, painter, born at Dordrecht on
the 12th February, 1795, was the son of Johann
Baptist Schetfor, an artist of German extraction,
settled in Holland, and practising as court-painter
at Amsterdam ; and of his wife, Cornelia Lamme,
of Dordreclit, also an artist. Ary and his brother
Hendrik received their first instruction from their
father, and Ary is said to have shown a precocious
talent, and to have exhibiteii a picture when only
twelve years old. In 1810 lie sent a portrait to
the Amsterdam Exhibition. In the following year
1ms father died, and Cornelia Scheffer, a woman of
much energy and strength of character, resolved
to take her three sons to Paris to complete their
34

education. Settling in the French capital, she-
placed both Ary and Hendrik with Pierre Gu^rin as
pupils ; and in 1816 Ary gained the chief prize for
painting at Antwerp, the subject of his picture
being 'Abraham and the Three Angels.' Ary soon
began to be favourably known in Paris as an indus-
trious painter of small genre pictures, of whicli
his ' Soldier's Widow,' 'Sailor's Family,' 'Sister of
Mercy,' ' Orphans in the Churchyard,' are examples.
These became widely popular by means of litho-
graphs. A few more ambitious works dating from
this early period are : ' Death of St. Louis ' (1817),
'Socrates and Alcibiades' (1818), 'The Surrender
of the Burghers of Calais' (1819). The year 1822
was a marked one in his career, his reputatior>
being greatly enhanced by a picture then exhibited,
' The Shades of Francesca da Rimini and her Lover
appearing to Dante and Virgil ; ' and in this same
year he painted the ' St. Louis visiting his plague-
stricken Soldiers,' for the church of St. Francois-
d'Assife, in Paris.

His early works, though painted in the French,
manner, show a strong leaning towards the pathetic
and emotional vein which was the characteristic
note of his mature art. In his second period Ary
Scheffer sought inspiration from the greater poets
and from the Scriptures. Typical examples in both
styles are the ' Beatrice ' and ' Francesca da Rimini,'
exhibited at the Salon of 1835; and the 'Christ
bearing His Cross,' ' Christ the Consoler,' and ' Rutli
and Naomi.' Like David, Scheffer combined with
his artistic pursuits an enthusiastic interest in
politics, and was a warm partisan of the Orleans
family. Introduced to them by Gerard in 1826, he
became drawing-master to the children of Louis
Philippe, and his professional relations with them
soon developed into an affectionate intimacy, the-
Princess Marie in particular being greatly attached
to him. In 1830, when the events of the Revolution
placed Louis Philippe on the throne, Scheffer rode
to Neuilly in company with Thiers to tell the Prince
he was king. Faithful to him in misfortune,
Schefler was also with him when the outbreak of
1848 forced him from the Tuileries.

A journey through the Netherlands in 1829 to-
study Rembrandt and the Flemish masters had a
certain influence upon Schefler's later manner.
To this belong the works suggested by Goethe's
' Faust,' and many others inspired by the poems of
Byron, Biirger, Schiller, Dante, &c. For the his-
torical gallery at Versailles he painted several
pictures, which will be found mentioned below.
At the death, in 1839, of his mother, to whom he
was greatly attached, he made his first and only
essay in sculpture. Desiring that no other than
himself should undertake the monument to her
memory, he designed and carried out in marble a-
full-length figure for her tomb, but the result is-
interesting only as evidence of filial affection.

Scheffer, who was an officer of the Legion of
Honour, commanded a battalion of the National
Guard during the disturbances of June, 1848, and
his services were recognized by an offer of the
cross of a commander, which, however, he declined..
His political activity brought him into contact
with all opinions and classes, and he is said to
have been a man of much culture and intelligence,
and of great kindliness and benevolence of dis-
position. His open-handed generosity prevented
him from amassing a fortune, and in spite of the-
large sums which he received for some of his pic-
tures, at his death he left no savinp-s. In his-

ARY SCHEFFER

Han/stdngl photo]

\National Gallery

ST. AUGUSTINK AXD ST. MOXICA

PAINl'ERS AND ENGRAVERS.

political career he was singularly sincere and
upright in conviction and aims. As an artist he
cannot be said to take a high rank, though few
modern painters have enjoyed a greater degree of
present popularity. His drawing is correct, and
his taste refined and elevated, but his merit lies
rather in poetry of sentiment and in a certain
devotional fervour, than in individuality of treat-
ment or artistic handling, while as a colourist
his shortcomings are very marked. He died at
Argenteuil, near Paris, on the 15th June, 1858.
The following are among the better examples of his
work : F. S.

Ijlle. Museum. ' The Dead ride fast."

London. Nat. Gallery. SS. Augustine and Monica.
„ „ Portrait of Mrs. Robert Holland.

„ IVat. Port. Gall. Portrait of Charles Dickens.
Marseilles. Museum. Mary Magdalen.

Montpellier. „ A Philosopher.

Nantes. „ The Charitable Child.

Paris. Louvre. Eberhard of 'WuTtemberg.

„ „ The Death of Gericault.

The Vow of the Suliot 'Women.
Rotterdam. Gallery. Eberhard of 'Wurtemberg cut-

ting the cloth.
„ Eberhard mourning his son

Ulrich.
„ „ Three sketches.

Versailles. Gallery. Gaston de Foix found dead

after Ravenna. 1824.
„ ., The Battle of Tolbiac.

„ „ Charlemagne dictating his

Ordinances. 1S29.

„ „ Charlemagne receiving the

submission of AVittekiud.

1836.

„ „ Philip Augustus entering Paris.

„ „ St. Louis entrusts the Regency

to the Queen.
„ „ The Entry of Charles VII. into

Rheims.
„ „ Entry of Louis XII. into

Genoa.
„ „ Louis Philippe receiving the

1st Regiment of Hussars.
Faust's Vision of Margaret.
Margaret in the Church.

Portraits of Lamartine ; Ijamennais ; Madame Gnizot,
senr. ; his Mother; Charles Gounod; Frai^kVu ;
Madame Taglioni ; Himself.

SCHEFFER, Hesdbik, painter brother of Ary
Scheffer, boru at tlie Hague in 1798, was also a
pupil of Gu^rin. He was not without merit, though
far behind his brotlier. His drawing was incorrect,
and his colour cold. His principal work was a
'Charlotte Corday,' and we may also mention:

An Inundation in Rome. I Joan of Arc.

Hermann and Dorothea. | Madame Roland.

Preaching after the Revocation of the Edict of Nantes.
The Battle of Monte Cassel. [J'ersailles.)

He died in Pans in 1861.

SCHEFFER, Joh.4NK Baptist, painter and
etcher, born at Cassel in 1773, a pupil of Tisch-
bein, went early to Holland, where at Dort he
married Cornelia Lamme and became the father of
Ary Scheffer. He produced several large historical
works, and some portraits ; among the latter that
of King Louis of Holland. He died at Amsterdam
in 1809.

SCHEFFER von LEONHARDSHOFF, Johann
Evangelist, painter, born at Vienna in 1795, became
a pupil of the Academy. His talents, however,
attracted the attention of the Graf Franz von Salm-
Reifferscheidt, prince-bishop of Gurk, who sup-
plied him with the means to go to Italy. In 1817
he painted the portrait of Pope Pius VII., who
created him a Knight of the Order of Christ. On
D 2

his return to Vienna he painted a 'St. Cecilia' for
Prince Albert of Sachsen-Teschen, and then re-
turned to Rome. There he produced his master-
piece, 'The Dying Cecilia, supported by two
Angels,' now in the Vienna Gallery. He died at
Vienna in 1822.

SCHEFFER, Jean Gabriel, painter, born at
Geneva in 1797, was a pupil of Regnault, and prac-
tised for many years in Paris, exhibiting occasion-
ally at the Salon. Among his works there shown
were : ' The Good Samaritan,' ' Woman of Albano,'
' Conjugating the Verb to Love' (in ten tableaux).
He also published a number of lithographs, forming
various series, under the following names : ' Les
Grisettes,' ' Ce qu'on dit et ce qu'on pense,' 'Le
Diable Boiteux a Paris.' He last appeared at tho
Salon in 1846.

SCHEFFER, Paul, a German painter, who is
mentioned by De' Domenici as having painted
pictures for the church of San Severino at Naples,
in 1560.

SCHEFFERS, N., a Dutch historical painter,
born at Utrecht. He came to England when still
young to practise his art, and had at first to submit
to much disappointment and hardship. Later he
gained the notice of the painter Verrio, who em-
ployed him as his assistant.

SCHEFFLER. See Schafler.

SCHEGA, Franz Andreas, die-cutter and en-
graver, is better known by his medals and portraits
in relief than by his pictures. He was bom at
Neustadt in Carniola in 1710. The son of a gun-
maker, he for a time followed his father's trade, in
which he gave evidence of artistic talent by tlie
skill with which he engraved his guns. Late in
life he painted portraits in pastel, some of which
he himself engraved. He became blind in 1780,
and died at Munich on Dec. 6, 1787.

SCHEGGIA. See GniDi, Tommaso.

SCHEIE, Christian Friedrich, painter, bom at
Worms in 1737, was a pupil of Seekatz, whose style
he copied. After travelling through France, he
settled at Hamburg. He painted small pictures
in oils and water-colours, principally fire effects.
He died in the workhouse at Hamburg in 1810.

SCHEINDEL. See Scheyndel.

SCHEINS, Karl Lddwig, painter, was bom at
Aix-Ja-Chapelle in 1808. He studied at Diisseldorf
under Schimier, and painted mostly woodland and
mountain scenes. He died at Diisseldorf in 1879.

SCHEITZ, Andreas, (Schedtz,) son of Matthias
Scheit!!, painter and etcher, was born at Hamburg
in 1665. He followed the style of his father. He
was painter to the Court of Hanover, where he died.

SCHEITZ, Matthias, was born at Hamburg
about the year 1645, and was a follower of Philips
Wouwcrman, whose style he afterwards abandoned
for that of David Teniers. He designed a series of
Scriptural illustrations, which were engraved by J.
de Visscher and others, and published at Luneburg
in 1672. He died about 1700. He etched fourteen
plates from his own designs, in a bold, free style,
among which the following may be named :

The Four Seasons, symbolized by the Sports of Children ;

in fourplates ; M. Scheit:, fee. 1671.
Two Landscapes, with figures dancing.
An old Man playing on the Violin, and a 'Woman singing

before the dcor of a Cottage.
The Spectacle Merchant.

There are pictures by him at Pommersfeld,
Schwerin, Brunswick, and Cassel.

SCHEL, Sebastian, a German painter, of the

A BIOGRAPHICAL DICTIONARY OF

Bchool of Diirer. Amongst liis works was the
decoration of the 'Paradise Hall,' in the royal
palace at Innspruck. An altar-piece by him in the
same city' bears the following inscription : " Se-
bastian Schel, painter of Innspruck, made this
picture by the help of God." He died in 1554.
SCHELBEH. See Schelver.
SCHELDE. See Van der Schelde.
SCHELFHOUT, Andreas, landscape painter,
born at the Hague in 1787, received his first in-
struction from the scene painter Breckenheymer,
and in 1815, with his 'Winter Landscape ' now in
the Amsterdam Museum, first made himself a name.
He painted the natural scenery of Holland, and his
works are numerous. He was a Member of the
Academies of Amsterdam, Brussels, Ghent, and the
Hague. He died at the Hague in 1870. The
Amsterdam Museum possesses a large collection of
his works.

SCHELLENBERG, Johann Rudolph, a Swiss
designer and engraver, born at Basle in 1740.
He was the son of J. U. Schellenberg. Among
other plates, he engraved several for Lavater, and
from the designs of Cliodowiecki ; also some of the
portraits and ornamental prints for the ' Lives of the
Swiss Painters,' by J. C. Fuessli. He also engraved
a large number of plates for works on entomology.
He died at Toss near Winterthur in 1806.

SCHELLENBERG, Johann Ulrich, bom at
Winterthur in 1709, was a pupil first of a house-
painter and then of Huber in Berne. He superin-
tended a Drawing-school in Winterthur and painted
portraits and landscapes. He was the master of
Anton Graff. He died at Winterthur in 1770.

SCHELLENBERGER, Johann Jacob, a German
engraver, who flourished about the year 1660. He
engraved some of the plates for Prioralo's ' History
of the Emperor Leopold.' He was living in 1674.
SCHELLINCKS, Daniel, the brotljer of Willem
Schellincks, was born at Amsterdam in 1638 (?), and
painted landscapes and seaports with some success.
He died in 1701. Several good chalk drawings by
liim are to be seen in the Albertina Collection,
Vienna.

SCHELLINCKS, Willem, (Schellings, Schel-
LINKS,) was bom at Amsterdam in 1632, and, from
tlie style of his pictures, is supposed to have been
a scholar of Jan Lingelbach. He travelled through
France, Switzerland, Italy, and it is said England.
He painted landscapes and sea-ports, with figures.
The sunny effect in some reminds us of Karel
du Jardin ; his animals are well drawn, and his
groups well composed. On the embarkation
of Charles II. for England, at the Restoration,
Schellincks painted a large picture of the scene for
the family of Witsen. It contained a vast number
of well-grouped figures. He painted the burning
of the English Fleet in the Medway, and was also
much employed in inserting figures in the pictures
of Wynants and Heusch. "The works of Schellincks
are to be found at St. Petersburg, Copenhagen,
Frankfort, and Augsburg. He made drawings of
Stonelienge, as it then existed, and of several other
objects that would attract a stranger in England ;
there is, therefore, little doubt as to his having been
here. He died in 1678.

SCHELTEMA, Taco, bom at Harlingen in 1760,
distinguished himself as a portrait painter. He
formed himself on Van Dyck. After visiting Diis-
seldorf he went to Saxony, where he painted many
portraits, but afterwards retumed to his own country,
and resided alternately at Amsterdam and Rotter-
36

dam. He pamted the portraits of the founders and

directors of the Batavian Society, and numerous
family pictures. He died in 1837.

SCHELVER, AuGtJsr Franz, genre and battle
painter, born at Osnaburg in 1805, was first a
pupil of Neelmeyer, and then, with assistance from
his native town, went to Munich for improvement.
In 1833 he produced his picture of the Battle of
Hanau, but hunting scenes, horse-market scenes,
and battles constitute the principal partof his works.
He died at Munich in 1844. In the Munich Pina-
kothek is a picture by him of a Tyrolese wagon
coming up a rocky pass.

SCHENAU, (SchOnad,) Johann Eleazak. See
Zeisio.

SCHENCK, August Friedrich Albrkcht,
Danish painter ; born at Gliickstadt (Holstein),
April 2.3, 1828; became a pupil of L. Cogniet ;
and, after working in England and Portugal, he
went through a further course of study at the
Ecole des Beaux Arts. He settled at Ecoiien,
near Paris, and soon made his mark at the Salon
by several vigorous and soundly-painted composi-
tions. Besides animals, he painted effective land-
scapes, notably snow-scenes with horses, sheep
and dogs. Of his works we may mention : ' Paysans
polonais attaqu&s par des loups,' 'Troupeau de
chfevresen detresse,' ' Moutons Montagnards,' ' Les
Survivants du Troupeau,' &c. He obtained a
Salon medal in 1865, and, in 1885, the Legion of
Honour. He died at Ecouen, January 1, liiOl.

SCHENCK, Pieter, was born at Elberfeld in
1645, but studied drawing at Amsterdam. As an
engraver he commenced with some topographical
works, in which he was assisted by Gerard Valcke,
who afterwards taught him mezzotint, in which
proce.'is he engraved a large number of portraits.
In 1683-4 they became partners, and it is difficult
thenceforward to distinguish their numerous pub-
lications from their actual performances. Augustus
II., Elector of Saxony and King of Poland, named
Schenck engraver to his court. Schenck died at
Amsterdam about 1715. A long list of his prints
is given by Nagler. There is » good collection in
the British Museum.

SCHENDEL, Bernard, bom at Haarlem in
1634, was a scholar of Hendrik Mommers. He
painted conversations and merry-makings, and v.-as
a good draughtsman and colourist. The probable
date of his death was about 1693.

SCHENDEL, Petrd.s van, painter, born at Ter-
heyden, near Breda, in North Brabant, in 1806,
worked at the Antwerp Academy from 1822 to
1828, under Van Bree. Wiertz, Leys, and Geerts
were his fellow-pupils. He then returned to Hol-
land, living successively in Amsterdam, Rotterdam,
where he painted portraits, and the Hague. Thence
he went to Brussels in 1845. He produced several
Market Scenes, with effects of light, as ' Evening
Market at Antwerp,' and 'The Fishraarket,' both in
the National Gallery at Berlin; ' Market by Moon-
light,' in the Pinakothek ,at Munich. He also painted
a few subjects from sacred and profane history and
portraits. He died at Brussels in 1870.

SCHENK, C. WiLHELM, engraver, born at Leipsic
about 1785, worked at the Academy, and engraved
portraits and historical subjects for books. He
went afterwards to Brunswick. He has left a small
plate from Leonardo da Vinci's ' Last Supper.'

SCHENK, S. P. See Tillemans.

SCHENKER, S. Nikolaus, engraver, bom at
Geneva in 1760, went in 1779 to Paris, and began

PAINTERS AND ENGRAVERS.

his independent work with some plates after Scliall.
His principal work was the ' Madonna di Foligno,'
after Raphael. Other plates are a portrait of
Henry IV. of France, at the age of fifteen, and one
of Wieland, after Kiigelgen. He died in 1822.

SCHERENBEKG, Hewians, German painter;
bom January 20, 1826, at Swinemiinde ; became a
pupil at the Berlin Academy in 1842, and also
studied at Diisseldorf under Theodor Hildebrandt.
After residence at Antwerp he returned to his
home, and some years later entered Couture's studio
in Paris. His first picture exhibited at Berlin was
'Die Uiigleichen Scliwestern,' and he also helped
Biirger to complete the decoration of the Berlin
Rathshaus. As an illustrator Scherenberg stood
with the first, and for years was a constant con-
tributor to the ' lUustrirte Zeitung,' ' Kladdera-
datsch,' and ' Fliegende Blatter.' He died at Gross
Lichtcifelde, near Berlin, August 21, 1897.

SCHERM, LoRENZ, engraver, born in the Rhine
provinces about 1690, went to Amsterdam, and
worked there from 1720 to 1735. His works are
mainly architectural, but he also engraved a few
landscapes with figures.

SCHERMIER, Cornelis, a Flemish decorative
painter, who in the 16th century worked for the
church of S. Gudule at Brussels.

SCHERTL, Joseph, landscape painter, was bom
at Augsburg in 1810. He began his studies with a
lithographer in his own city, and then, in 1832,
went to Munich, and studied landscape under Fohr
and Morgenstem. He is principally known by his
pictures of the neiglibourhood of Munich. He died
at Munich in 1869.

SCHETKY, John Alexander, a brother of Jolin
Christian Schetky, was born at Edinburgh in 1785.
He was educated for the medical profession, and
was appointed Assistant-Surgeon to tbe 3rd Dra-
goon Guards, and with his regiment joined the
army in the Peninsula. He was attached to the
7th Division under Lord Dalhousie, and served till
the end of the war. During this time all his spare
moments were taken up with drawing from nature,
and he sent home a number of sketches illustrative
of the scenery in the Pyrenees, which showed a
decided originality and much imagination. His
artistic power was afterwards devoted principally to
the delineation of external and internal pathology,
and after his appointment to the General Hospital at
Fort Pitt, Cliatliam, he contributed many valuable
drawings to the Museum of Morbid Anatomy estab-
lished by Sir James M'Grigor. He was promoted
to the post of Deputy Inspector of Hospitals on
the coast of Africa, and died off Cape Coast Castle
in 1824.

SCHETKY, John Christian, bom at Edinburgh
in 1778, was a pupil of Nasmyth, and devoted him-
self to marine painting in the style of Vandevelde.
He held the appointment of Professor of Civil
Drawing at the Roynl Military College at Great
Marlow, the Royal Naval College at Portsmouth,
and the East India College at Addiscombe, success-
ively, during a period of forty-seven years. He
was appointed painter in water-colours to William,
Duke of Clarence, and was marine painter to George
IV., William IV., and Queen Victoria respectively.
His painting of marine subjects is respectable, and
his accuracy in minute details of naval architecture
unsurpassed. His principal works are : ' The Battle
off Cape La Hogue;' 'The Endymion Frigate,
Admiral Sir Charles Paget, relieving a French Man-
of-War ashore on a rock-boimd coast ; ' ' The Battle

of Trafalgar;' and 'The Sinking of the Royal
George.' The last-named is row in the National
Gallery. Schetky died in London in 1874.

SCHEUBEL, JoHANN Joseph (I), painter, born
at Ratisbon about 1675, was painter to the Prince
Bishop, at whose expense he was sent to Venice.
On his return he painted altar-pictures for the
church of St. Stephen at Bamberg, (a ' Stoning of
Stephen,' a ' Descent from the Cross,' &c.) an altar-
piece for the Jakobskirche, and a ceiling for the
Gangolfskirclie. He died at Ratisbon in 1778.

SCHEUBEL, JoHANN Joseph (II), painter, son
of Johann Scheubel, born at Bamberg about 1720,
was pupil of Georg Desmar^es, and travelled at the
Bishop's expense througli France and Italy. On
his return he was appointed court painter. The
Bishop sent him to Paris in 1776, where he painted
four allegorical scenes in the Hotel de Ville. In
1778 he returned to Bamberg, and died there in 1783.
SCHEUCHZEK, Wilhelm, painter, born at
Zurich in 1803, was a pupil of Heinrich Maurer.
He travelled in Switzerland, and then from 1826 to
1829 worked in the Black Forest on pictures for
the Prince of Fiirstenberg. His landscapes were
much valued for their truthfulness to nature and
the freshness of their colouring. He died at
Munich in 1866.
SCHEUFFELIN. See Schaufelin.
SCHEUREN, Karpar Johann Nepomuk, Ger-
man painter and engraver ; born at Aachen,
August 22, 1810; studied at the Diisseldorf
Academy under Leasing and Schirmer. He
painted landscapes not devoid of delicate poetiy,
and executed numerous charming water-colour
drawings which certainly will make his name
remembered. In the Galleries of Berlin, Ham-
burg, Hanoi-er, Cologne, Leipzig, and Munich,
examples of his work will be found ; he obtained
the Red Eagle Order of the second class, the
Swedish gold medal for art and science, as well
as other decorations. The scenery of the Rhine
provided him with some of the most effective
motives for his pictures. He became Professor at
Diisseldorf in 1855, and died there June 12, 1887.
SCHEVENHUYSEN, Anthony, a Dutch en-
graver, who flourished about the year 1695. He
engraved the trades of Holland in a set of one
hundred small plates.

SCHEYNUEL, (Scheindel,) George van, a
Dutch engraver, who resided at Rotterdam about
the year 1635. He engraved several plates in a
style resembling that of Callot. His landscapes
are filled with figures correctly drawn, and touched
with spirit. He was a contemporary of William
van Buytenweg, after whom he engraved some
plates. We have, among others, tlie following
prints by him :

The Funeral Procession of William the Silent ; in four

plates.
A pair of LanJscapes, with Peasants amusing themselves,
The Tooth-drawer.

A Village Festival, with Boors fighting.
Ditto, with a Quack-Doctor.
A Winter-piece, with Skaters on the ice.
A Landscape, with a Waterfall.
A Landscape, with a Bridge.

A set of four Views of a Castle, one with a Windmill.
A set of twelve Landscapes, with Dutch inscriptions.
A set of twelve plates of European costumes.
Twelve plates of Dutch costumes.

Scheyndel was at work as late as 1660.

SCHIANTESCHI, Domenico, an Italian painter
of the 18th century. He was a pupil of the Bibieni,

.H7

A BIOGRAPHICAL DICTIONARY OF

and practised at Borgo San Sepolcro, wliere he
painted decorative perspectives in palazzi.

SCHIAVO, Paolo, was a pupil of MaBolino da
Tanicale, whose style he is said to have imitated.
His ' Madonna and Child with a St, John the Baptist
and another Saint,' now much damaged, may still
be seen on the wall of the Canto di Nelli, at
Florence.

SCHIAVONE, Akdbea. See Meldolla.
SCHIAVONE, Gregorio, a Dalmatian living in
the 15th century, was a pupil of Squarcione. He
was employed in the decorations of the Eremitani
Chapel, Padua, and painted the ' Enthroned Virgin
and Child,' now in the Berlin Gallery, while the
side panels of this altar-piece, with the figures of
St. Louis and St. Anthony of Padua, are in the
Canons' sacristy at Padua. The National Gallery,
London, has two pictures by him, a ' Madonna and
Child, enthroned, with Saints,' and a 'Madonna and
Infant Christ,' Schiavone was fond of proclaiming
himself the disciple of Squarcione in his signatures.
He flourished from about 1440 to 1470.

SCHIAVONE, LucA, a decorative painter, who
flourished at Milan about 1450. He excelled in
desig-ning embroidery for ecclesiastics.

SCHIAVONETTI, Luigi, engraver, born at Bas-
sano in 1765. was the son of a stationer, and from
his infancy displayed a taste for drawing. Before
he weis thirteen he had made some progress with-
out the help of a master, when he was placed
under the tuition of Giulio Golini,by whom he was
taught for three years, at the end of which his
master died. He now turned his thoughts to en-
graving. A copy of a ' Holy Family,' in line, frorn
a print engraved by Barto Corri, after Carlo Maratti,
gained him immediate employment from Count
Remaudini. The works of Bartolozzi were then in
vogue at Bassano, and Schiavonetti imitated several
with great success. Some of his copies were
shown to Bartolozzi by one Testoloni, as his own,
but when Schiavonetti himself came to England,
the deception was exposed, and Bartolozzi received
him into his house. After working for some time
under Bartolozzi, he set up for himself, and prac-
tised with much success until his death, which
happened in June, 1810, in London.

The following are among Scliiavonetti's principal
works :

Events in the life of Louis XTI. ; four plates ; after

Benazech.
The cartoon of Pisa; after Michel- Angela Buonarroti.
Portrait of Vandyck, in the character of Paris.
The Mater Dolorosa ; after Tandi/ck.
The Lauding of the British Troops in Egypt ; after

Loutherl'oury.
A set of etchings for Blair's Grave ; after Blake.
The Canterbury Pilgrimage ; after Sto'.hard.
Dead Christ ; after Vandyck.
Portrait of Berchem ; after Rembrandt.
The Death of General Wolfe, engraved from a gem by
Marchant, in the original unpublished Museum Wors-
leyauum. There is a copy in the smaller edition.
Death of Virginia ; after Treskam.
Marriage at Cana ; after Pellegrini.
Death of Tippo Sahib; after Singleton.
Queen Elizabeth ; after Westall.
Portrait of the Duke of York ; after Boydell.
Queen of Prussia and her sister ; after Ttschbein.
Portrait of W. Blake ; after T. Bhlips.
Plates in ' The Italian School of Design,' published by
Ottlei/. Also, in Oiamberlaine's collection of repro-
ductions of Italian drawings ; and ' Specimens of
Ancient Sculpture,' published by the Society of
Dilettanti.
•Sweet C^iina Oranges' and 'Milk Below, Maids,' for
Wheatley's 'Cries of London.'
38

SCHIAVONETTI, Niccolo, was the younger
brother of Lui^-i Schiavonetti, and executed some
plates in the style of that artist, though he worked
chiefly in conjunction with him, helping him espe-
cially in the 'Tippo Sahib' and the 'Canterbury
Pilgrims.' He engraved in stipple 'New Mackrel'
(published 1795) for Wheatley's ' Cries of London.'
He did not long survive his brother, but died in
London in 1813.

SCHIAVONI, Felice, a painter, bom at Trieste
in 1803, was a son and pupil of Natale Schiavoni,
whom he followed to Vienna and Milan. He
settled at Venice in 1830, where he painted historical
and mythological subject-:. His best works are his
' Descent from the Cross ' and ' Raphael painting
the Fomarina.' He died in 1868.

SCHIAVONI, Natale, an eminent painter and
distinguished engraver, was born at Chioggia in
1777. He studied engraving under RafEael Mor-
ghen, at Florence, but in 1797 went to Venice,
and studied under Maggioto. His first important
work was a ' St, Francis ' for the church of that
saint in Chioggia ; he then for a time painted
miniature portraits. From 1802 to 1816 he lived
in Trieste, and in which latter year he painted
portraits of tli.,- Emperor and Empress of Austria.
In 1825 he went to Slilan, and divided his attention
pretty evenly between painting and engraving.
In 1841 he painted a large altar-piece for St. An-
tonio in Trieste, and afterivards a fine ' Magdalene,'
now in the Belvedere, at Vienna. He painted
many ' Bathing Venuses,' in which he could display
bis skill in the nude ; he made a copy of Titian's
'Assumption,' now in Russia; and produced with
the help of his sons a large ' Adoration of the
Magi.' His celebrity as an engraver is chiefly
owing to his splendid plates aflcr Titian's ' As-
sumption of the Virgin,' and ' The Entombment."
There is also a portrait of the Marquis Manfredini,
w'hich is considered a chef-d'oeuvre. About 1840
he became a Professor of the Venetian Academy.
He died in Venice in 1858.

SCHICK, Gottlieb, an historical portrait and
landscape painter, was born at Stuttgart in 1779.
In 1798 he went to Paris, and commenced his
artistic studies in the atelier of David. In 1802 he
returned to Stiittgart, but soon went on to Home.
He had some imagination, and his pictures are in
many instances distinguished by simplicity and
purity of sentiment. ' The Sacrifice of Noah,'
' David playing before Saul,' and ' Apollo with
the Shepherds,' tlie last in the palace at Stiittgart,
are among his best works. There is a fine ' Eve
at the Fountain,' by him in the Wallraf-Richartz
Museum, Cologne. He excelled in portraiture, and
painted several members of the Humboldt family,
and other distinguished persons. His landse.ipes
are of the heroic kind, enriched with subjects from
the poets. Schick was one of the founders of
modern German art. He died at Stiittgart in
1812.

SCHIDONE, (ScHEDONE,) Bartolommeo, painter,
was born at Modena in 1660. Although he is
generally allowed to have been brought up under
the Carracci, his works exhibit little resemblance
to their style. He rather appears to have formed
himself on the study, of Raphael and Correggio,
but his style has a sharpness, severity, and dryness
which is peculiar to him. Schidone had already
gained some reputation at Modena, when Duke
Ranuccio took him under his protection. He
painted several pictures for his patron, and these.

PAINTERS AND ENGRAVERS.

with many other works of art in the possession of
tlie Duke of Modena, afterwards came into the col-
lection of the King of Naples. In the Palazzo
Pubblico, at Modena, lie painted the history of
Coriolanus, and seven emblematical figures, in
which he emulated Correggio ; and in the cathedral
a 'St. Geminiano resuscitating a dead Child,' which
used often to be taken for a production of that
master. His works are extremely rare ; in con-
sequence, it is said, of his propensity for gaming,
in which he wasted his substance and time. His
<ieath is said to have been occasioned by distress
of mind, caused by losing in one night more than
he was able to pay. It took place in 1616, at
Parma.

St. John.

Flight into Egypt.

Holy Family.

Cupid with au Hour-glass.

St. Gemigu.ano.

Coriolauus and his mother.

St, Jerome.

St. John the Baptist.

The Dinner at Simon's House.

The Holy Family.

Charity.

St. Sebastian succoured by St.

Irene.
The Tribute-money.
Christ presented to the People.
The Massacre of the Innoceats.
Cupid.

Several Portraits.
Holy Family.
Christ borne to the Tomb.
The Entombment.
The Last Supper.
A Pieta.

Descent from the Cross.
The Disciples at Emmaus.
The Entombment.

Darmstadt

Gallery.

Dresden.

Gallery.

Florence.

Fitti Palace.

„

UJ/hi.

Glasgow.

Gallery.

Modena.

Cathedral.

„

Muuicipio.

Gallery.

Naples.

Jfuscum.

Paris.

Parma

Venice.
Vienna.

Louvre.

Jluseum.

Academy.
Galliry.

SCHIERTZ, August Ferdi.vand, painter, born at
Leipsio in 1804, began in 1830 to study art, and
painted genre, historical, and religious pictures.
His best works are: 'Mortality,' in the Museum at
Leipsic ; an ' Adoration of the Kings,' in the church
of Bosenstiidt ; the ' Descent of the Holy Ghost,'
for the church at Podelwitz. He was much em-
ploj'ed in the restoration of old pictures. He died
at Niederfahre, near Meissen, in 1878.

SCHIESL, Ferdinand, engraver, born at Munich
in 1775, was a pupil of Mettenleiter. He drew
caricatures and engraved vignettes for books. He
died in 1820.

SCHIEVELBEINE, F. A. H. This German
artist devoted the greater part of his time to
architecture and sculpture, but, in his early career,
he received the Grand Prize at Berlin for painting.
Be was born at Berlin in 1817, and was a pupil
of the local Academy, afterwards entering the
fitudio of Prof.'Ssor Wichmann. His principal
commission was the work he executed at St.
Petersburg in the rebuilding of the Winter Palace,
and in the alteration carried out to St, Isaac's
Cathedral. His statuary at Konigsberg, and the
frieze in the National Gallery at Berlin, represent
his best work in sculpture. He painted two im-
portant pictures, one called 'Winter Evening' and
the other ' Summer Evening,' and he died in Russia
in 1867.

SCHIFFER, Anton, landscape painter, was born
at Gratz in 1811. He was a student of the Aca-
demy at Vienna. His best works are : 'A Mountain

Panorama,' and 'View of the Muhlsturzliiirner,
near Berchtesgaden ; ' ' View from the Schafberg,
near Ischl ; ' ' View of the Schneeberg, in Lower
Austria.' He died in 1876.

SCHILBACH, J— Heinrich, landscape painter,
was born at Barchfeld in 1798. He studied at
Darmstadt, and in 182.H travelled in Italy, making
many sketches, which furnished him with motives
for finished oil-pictures. In 1828 he was appointed
court scene-painter at Darmstadt, Among his best
known landscapes are, a ■ View of Mayence,' a ' View
of Rome,' and two studies of Roman scenery in
the ThorvvaUlsen Museum at Copenhagen. He has
left a considerable number of etchings.

SCHILCHER, Anton von, engraver and painter,
was born at Mindelheim in 1796. He studied at
Munich, and entering the Bavarian army went with
General Heydegger to Greece. He drew and
painted military and genre picture*. He died at
Paros in 1828.

SCHILUER von BABINBERG, Johann, an early
German painter, a native of Oppenheim. He was
a contemporary of ' Master Wilhelm,' and about
1382 was engaged to paint the high altar of
Frankfort cathedral.

SCHILDKROTE (The Turtle). See Danks.

SCHILGEN, PiiiLiPP Anton, painter, born at
Osnaburgh in 1793, studied at Diisseldorf under
Cornelius, with whom he went to Munich in 1825.
He executed some scenes from the Tragedies of
iEschylus, in the Palace, after drawings by Schwan-
thaler. In the JIunicn New Pinakothek hangs his
' Rape of Helen,' painted in oil after a cartoon by
Cornelius. He died in Munich in 1857.

SCHILLER, Johann Felix von, landscape
iniinter, born at Breslau in 1805, was educated for
the legal profession, but afterwards devoted him-
self to art, which he studied at Munich, and made
the beauties of the Bavarian highlands his theme.
He died at Munich in 1852.

SCHILLING, Georq, bom at Unterthingau, in
Suabia, in 1785. He painted ten landscapes, deal-
ing with scenes in Greek life, in the palace at
Munich. They are after drawings in water-colour
by Rottmann. SchilUng died at Unterthingau in
1839.

SCHILLING, Hans, a German illuminator and
calligraphist of the 15th century, known by a
rhymed paraphrase of the Bible in 50,000 verses,
which he enriched with 515 grotesquely designed
but finely coloured miniatures. He was a native
of Hagenau.

SCHILT, Lonis Pierre, born in Paris, Septem-
ber 11, 1790, was one of the most celebrated of the
painters upon Sevres porcelain. His father was a
vivandier of the republican army, and Schilt was
brought up entirely by his mother, who appren-
ticed him at the age of fourteen to the china-
painter Constant. His master treated him kindly,
putting him into the way of earning small sums
for himself by painting on common pottery, and
eventually he passed into the atelier of Lefevre.
He here attracted the attention of the painter Paris,
who advised him to devote himself entirely to
flower-painting, and in accordance with this counsel
he began to attend Jussieu's courses at the Museum,
with the result that he became an accomplished
botanist. In 1822 he obtained employment at the
royal manufactory at Sevres, and worked there
with equal assiduity and success until his death in
1859. Nine years previously he had been made
a Knight of the Legion of Honour at the solicita-

A BIOGRAPHICAL DICTIONARY OF

tion of Paul Delaroche. He published the follow-
ing series of lithographs : ' The Moiitlia,' ' Flowers
and Fruit,' 'The Porcelain Designer.'

SCHIMON, FERniNAND, painter, born at Pesth
in 1797, was first a singer and actor, and then, after
studying art at Munich, came out as a portrait
painter. He worked at the Loggie of the Old Pina-
cotbek after Cornelius' designs. JNIost of liis works
are in the Villa Rosenstein, near Stiittgart. He
died at Munich in 1852.

SCHINDLER, Albert, bom at Engelsberg, in
Silesia, August 19, 1805, studied under Fendi at
the Vienna Academy, and became a genre painter
of much merit. His ' Dying Pilgrim ' is in the
possession of the Emperor of Austria. He died
at Vienna in 1861.

SCHINULEK, Emil Jakob, German painter;
bom at Vienna, April 27, 1842 ; studied at the
Vienna Academy under Zimmermann, his fellow-
pupils being Jettel, Ribarz, and Russ. His work
showed the influence of Corot, Daubigny, Dupr6,
and Rousseau in its close interpretations of nature,
and his place as a landscape-painter ranks with
the first Of his works we may mention : ' Abend
im Prater,' ' Alpe in Steiermark,' ' Mondlandschaft,'
' Thai des Friedens,' and the numerous delightful
illustrations to Zedlitz's ' Waldfrauleins Geburt.'
He was a member of the Academies of Vienna
and Munich, and the holder of several distinguished
decorations. He died at Westernland-am-Sylt,
August 9, 1892.

SCHINDLER, Johann Joseph, painter, bom at
St. Polten in 1777, studied at the Academy at
Vienna, and then became professor of drawing at
the Normal School of St. Anna in that cit_v. He
painted the altar-piece in St. Micliael's church at
Vienna, and also engraved several plates. He
died at Vienna in 1836.

SCHINDLER, Karl, painter, born in 1822, was
a pupil of Fendi. He died at Laab, near Vienna,
in 1842.

SCHINKEL, Karl Frikdrich, the famous Ger-
man architect, born March 13, 1781, at Neuruppin,
began his career in the early years of the 19th
century, as a painter. He had been trained
in the Academy of Architecture at Berlin, but
time and circumstance seemed peculiarly un-
favourable to the art in wliich he was afterwards
to achieve distinction. In 1803 he travelled
in Italy, painting landscapes, copying historical
pictures, and making drawings of costumes, and
devoting much time to the studj' of ancient
monuments. On his return to Germany he pro-
duced a number of landscapes with buildings,
and viarhines sucli as a ' Panorama of Palermo,'
and the 'Seven Wonders of the World.' Later,
when his fame as an architect was established,
he furnislied designs for the paintings in the
vestibule of the Berlin Museum, and continued
from time to time to paint landscapes and his-
torical pictures, and projects for theatrical scenery.
He published a few lithographs and etchings, and
numberless illustrations to books on architecture.
He died at Berlin, October 9, 1841. In the
National Gallery of Berlin there are seventeen of
his pictures.

SCHINNAGL, Max Joseph, bom at Burghausen,
in Bavaria, in 1694, was a pupil of his step-father,
Joseph Kammerloher. He painted wild scenery,
with figures by Janneck and Aigen. The galleries
at Vienna and Augsburg possess pictures by him.
ile died at V'ienna in 1761.
40

SCHINZ, JoHANN Georg, painter, bom at Zuricb
in 1794, was a pupil of Gessner, and painted
Swiss landscapes. He died in 1845.

SCHINZ, JoHANN Kaspar, born at Zurich in
1798, painted biblical pictures. He died in 1832.

SCHIOPPI. See Alabardi.

SCHIRMER, Friedrich Wilhelm, landscape
painter, bom at Berlin in 1802, was apprenticed-
at the age of fifteen to the Royal Porcelain Manu-
factory, and worked at the same time in the Berlin
Academy. From 1823 he devoted himself entirely
to art, travelling in Germany and visiting Italy. In

1839 he was appointed teacher, and in 1840 pro-
fessor, in the Berlin Academy. In 1845 lie revisited
Italy, and in 1850 painted the walls of the Egyptian
and Grecian divisions in the Berlin New Museum.
In 1863 he again went to Italy, though he was
suffering at the time from ill-health, and he died
at Rome in 1865. Examples of his work are to be-
seen in the National Gallery, Berlin.

SCHIRMER, G., a native of Berlin, bom in
1804, and educated at the local Academy, where-
afterwards he became a professor. His work is
mainly in decorative materials and in fresco, the
most notable being tlie decoration in the castle of
Prince Albert of Prussia, and in the New Museum
at Berlin. In the Berlin National Gallery are two
pictures by him, one representing Sorrento, and
the other Sans Souci. He died at Berlin in 1866.

SCHIRMER, Johann Wilhi-xm, landscape
painter, born at Jiilich in 1807, learned drawing
from an engineer, and became a bookbinder,
which was the trade of his father. In 1826 he
became a student in the Academy at Diisseldorf,
and attended the studio of Schadow. In 1827 he
founded a class, out of which a new school of land-
scape painting arose. In 1834 he began to travel,
making his way successivelj' through the Black
Forest, Switzerland, Holland, and Normandy. In
18.39 he visited Italy, and was made professor at
the Diisseldorf Academy. In 1853 he was sum-
moned to direct the School of Art at Karlsruhe,
and there he died in 1863. The following picture*
in the Berlin Gallery are by him :

Scene in a German Forest.

The Convent of S. Scholasticain the Sabine Mountains.

Abraham's Entry into the Promised Land.

The Promise in the Grove of Mamre.

Abraliam's Intercession for Sodom and Gomorrah.

The Fliglit of Lot.

Hagar cast out.

Hagar in the 'Wilderness.

Hagar's Deliverance.

Abraham and Isaac going to the Sacrifice.

Offering up of Isaac.

Abraham and Isaac's lamentation for Sarah.

Eliezer and Rehekah at the WelL

Burial of Abraham.

SCHISCHKIN, IvAN.Russian painter and etch°r;.
born at Jelabuga (Wjatka), January 13, 1831;
became a pupil of; the Moscow Art School ; in
1863 he won the first prize at the St. Petersburg
Academy, and three years later he was enrolled
as a member. He was successful as a painter of
sylvan scenes, but as a draughtsman he won wider
fame. Some of his pen-drawings were successfully
reproduced by a Diisseldorf firm ; all of them deal
with woodland scenery. He obtained the Stanis-
laus Order and other decorations. He died at St.
Petersburg, March 20, 1898.

SCHITZ, Julils, landscape painter, born in
Paris, February 9, 1817, was a pupil of R^mont
He exhibited frequently at the Salon between

1840 and the time of his death in 1871. He-

PAINTERS AND ENGRAVERS.

■was Director of the Municipal Drawing School
at Troyes.

SCHIVEN06LIA, Lo. See Rainieri.

SCHIZZONE, , an Italian painter of the 16th

century, the friend and companion uf Vincenzio
di S. Gimignano. His career was cut short bj- the
troubles of 1527, for after the sack of Rome he
appears to have abandoned art.

SCHKUHR,Christian, draughtsman and etcher,
was born at Pegau, in Saxony, in 1741. He
devoted himself early in life to botany, but later
added mechanics and optics to his pursuits, and
was appointed meclianician to the Wittenberg
University. He pubUslied a botanical liandbooix,
the plates for whicli he designed and etched
himself. He died at Wittenberg in 1811.

SL'HLEICH, Adrian, German engraver ; born
December 7, 181'2, at Municli, where he studied
under S. Amsler. He established himself at
Muiiich, and worlved exclusively at steel-engraving;
his plates to Schiller's ' Glocke ' and Kaulbach's
' Reinecke Fuchs,' and his reproductions uf Schran-
dolfs frescoes for Speyer Cathedral are well known.
He died at Munich, November 8, 1894.

SCHLEICH, August, painter and etcher, bom
at Munich in 1814, principally devoted himself to
drawing animals, fie died at Munich in 1865.

SCHLEICH, Eduard, landscape painter, was
born at Schloss Haarhach, near Landshut, in 1812.
He was a pupil of the Muiu'ch Academy, but his
real teachers were the Bavarian mountains and the
Old Masters. He travelled in Upper Italy, France,
and the Netherlands. In 1868 he was elected
Royal Bavarian Professor at Munich, and there he
died in 1874.

Berlin. 2Vat. Gal/. Evening Landscape.

Munich, y. Pinakothek. Landscape — Isar and Bavarian
Alps.
„ A Chalet.

SCHLEICH, JoHANK Karl, engraver, bom at
Augsburg in 1759, learned his art under Jungwirth
and Mettenleiter. He engraved portraits of many
of his contemporaries, some topographical plates,
and ' Hope nursing Love,' after Reynolds. He died
at Munich in 1842.

SCHLEICH, Karl, engraver, son and pupil of
Johann Karl Schleich, was born at Augsburg in
1788. There are by him :

Peasant Family ; after Potter,

The Cathedral of Katisboa.

A View of Munich.

Twelve Landscapes ; after JVagenlaur, Ihijardin, and
Ostade.

He died at Munich in 1840.

SCHLEISNER, Christian Andreas, painter,
was born at Lyugby, near Copenhagen, in 1810.
His early education was obtained at the Copen-
hagen School of Art, but afterwards he studied
for a time in Munich, and between 1840 and
1842 was a travelling student of the Copenhagen
Academy. Of this institution lie became a member
in 1852, and a professor in 1858. His pictures
belong to the class of genre ; many of them are
comic. His deatli took place at Copenhagen in
1881. Works :
Copenhagen. Gallery. Sailors in a Beershop.

„ „ Tinker in his "Workshop.

Hanicb. iVew Pina- ] The Coppersmith and hU

koihek. J" Family

SCHLESINGER,Adam, painter, bom at Kberts-
heim, in Rhenish Bavaria, in 1759, painted fruits.

In the National Gallery, Berlin, are two examples
of his art. He died in 1829.

SCHLESINGER, Henri, was born at Frankfort
in 1814, studied at Vienna, settled in Paris, and
became a naturalized Frenchman and a regular
exhibitor at the Salons (1840-89), where his por-
traits and genre subjects were well known. He
gained medals, of the third class in 1840, and of
the second class in 1847, and in 1866 was admitted
to the Legion of Honour. His portrait of the
Sultan Mahmoud II. hangs at Versailles. Among
his works may be mentioned, ■ Double Arret,'
' Les Amours d'autrefois et ceux d'aujourd'hui,'
'Jeune Fille du Maroc,' and 'Cadeaux de NoeL'
He died in 1893.

SCHLESINGER, Jakor, painter, born at GriJn-
stadt in 1793, learned the first principles of art
from his father, Johann Schlesinger, and afterwards
studied in Mannheim and Munich. The brothers
Boisseree employed him in restoring old pictures.
In 1822 he was appointed professor at Berlin.
The Sistiiie Madonna of Rapliael, Titian's daugh-
ter, and other well-known pictures were copied by
him. He also painted portraits, and fruit and
flower pieces. He died at Berlin in 1855. There
is a tracing by him from the Sistine Madonna in
the London National Gallery.

SCHLEY, Vam dkr. See Van der Schley.

SCHLICHT, Abel. This artist was born at
Mannheim in 1754. He engraved several plates
in aquatint, which are favourably mentioned by
Huber. He was a painter and architect as well
as an engraver ; lie studied perspective under L.
Quaglia, and was a professor in the Academy of
Diisseldorf. He died in 1826. Among his plates
we may name :

A Storm and Shipwreck ; after Vernet.

A Calm ; after thi same.

A Landscape, with cattle ; after A. Vandevelde.

A Landscape, with figures and animals ; after Berghem,

A Landscape ; after Pyvaker.

Several architectural Views ; after Bihiena, Pannini,
and others.

SCHLICHTEN, J. P. van der. See Van der

SCHLICHTEN.

SCHLOEPKE, Theodor, painter, first made
his name by painting genre and horse pictures, and
portraits. For the Duke of Mecklenburgli he
painted a series of scenes of the Schleswig-Holstein
war. Between 1855 to 1857 he painted at I'aris,
under the auspices of H. Vemet, his one great his-
torical picture, the ' Death of Niclot.' He died at
Schwerin in 1878.

SCHLOSSER, Leopold, landscape painter, was
a native of Berlin. He painted a large landscape
with two wolves in the foreground, which showed
considerable talent. He died at Diisseldorf in 1836.

SCHLOTTERBECK, Christian Jakob, a painter
and engraver, but chiefly the latter, was born at
Boblingen, in Wurtemberg, in 1755. He was the
son of a stone-cutter, and first studied medicine,
which he afterwards abandoned for art He
entered the Karlsacadeniie at Wiirtemberg in
1774, and studied engraving under J. Y. Muller.
In 1785 he was appointed court engraver. He
painted Duke Cliarles and King Friedrich of
Wurtemberg, and engraved a number of por-
traits, among which are those of Sohubart, Harper,
Guibal,etc. Of his other plates, the principal are,
' Titian's Mistress,' after the picture once in the Or-
leans collection, ' Herodias with the head of John
the Baptist,' the ' Laocoon,' and busts of Castor

A BIOGRAPHICAL DICTIONARY OF

and Pollux, Minerva, Mercury, and Diana, from
tlie antique, also some frontispieces and vignettes.
He (lied about 1812.

SCHLOTTEUBECK, Wii.helm Friedrich, a
draughtsman and engraver, born in 1777 at Hart-
ingen in Switzerland, wasascliolar of C. von Mecliel
of Basle. He had a great predilection for aquatint,
and it may be said that his success made that art
popular in Germany. He engraved many large
plates after Claude, Both, P. Hackert, ami his own
drawings. He joined tlieChalcographic Institution
at Dessau in 1798, where he engraved the four fine
landscapes by Claude Lorraine, then at Cassel,
but now in the Hermitage at St. Petersburg ; and
in 1801 he went to reside at Vienna. From 1808
till tlie time of his death he was occupied in
making drawings of the picturesque scenery in the
Tyrol, at Salzburg, and in various other parts of
Germany and Hungary, which he engraved for
Mullo, the Viennese publisher. He died at Vienna
in 1819.

SGHLOTTHAUER, Joseph, painter, born at
Munich in 1789, was first a carpenter, though he
devoted his leisure hours to drawing. Having
finished several preparatory works, he was received
as a pupil of the Academy, but a few months after
the War of Deliverance in the Tyrol broke out, and
Schlotthauer enlisted in a corps of volunteer sharp-
shooters. When the war was over he returned
to his art, and attached himself in 1819 to Cor-
nelius, who had come to Munich to commence the
frescoes of the Glyptothek, painting several of
the frescoes from Cornelius' Cartoons. In 1838 he
painted the side-altars in Bamberg Cathedral, and
about this time his mechanical and anatomical
studies led him to put forward a new method of
orthopoedio treatment, for the purposes of which
he started an institution, of which he was f<ir many
years the manager. In 1845 he went to Pompeii
to make researches into ancient methods of painting,
and in the following year he invented jointly with
Fuchs the kind of fresco painting known as stereo-
chromy. It was used by Kaulbach in his frescoes
for the Berlin Museum. His ' Christ crowned with
Thorns' is his best known easel-picture, lie was
further the author of a set of fifty-three lithograph
plates after Holbein's 'Dance of Death' (1832).
Among his piipils were Count Pocci, E. Linder,
J. Schraudolph, and J. A. Fischer. He died at
Munich in 18(;9.

SCHLOTTHAUER, Karl, painter, was born at
Munich in 1803. He was the pupil of his uncle,
Joseph Schlotthauer, and painted landscapes,chiefly
from the Bavarian Alps. He was a professor in
the Art School of Lindau.

SCHMALZIGATS^G, Ferdinand, German painter;
horn February 15, 1847, at Friedrichshafen on the
Bodensee ; became a pupil of Piloty at Munich.
He painted animals, and one of liis works is in the
Coh.giie iMuseum. He died 1902.

SOHMEIDLER, Karl Gottloe, portrait painter,
born at Nimptsch in 1772, first studied tlieology,
but became a painter from want of means. After
studying in the Academy at Dresden, he settled
at Breslau, and painted portraits, among which
were those of General Bennigsen and his wife, and
of some members of the Prussian Royal Family.
He died at Breslau in 1838.

SCHMELLER, Jchann Joseph, a painter, born
at Gross-Obringen, near Weimar, in 1796, was a
pupil of Jagemann. The Grand Duke sent hira
to Antwerp, in 1820, to study under Van Brie,

and on his return he became master of the Drawing
Scliool at Weimar. He painted two portraits of
Goethe, and was furtner commissioned by the poet
to make an album of portrait sketches in chalk of
distinguished persons and friends, which work is
still in the possession of Goettie's family. He died
at Wieraar in 1841.

SCHMERLING, Pauline von, flower-painter,
was born at Vienna in 1806. Her father was a
Freiherr J. von Koudelka in the Austrian army,
and she was a pupil of Franz Petter. In the
Vienna Gallery there is an excellent flower-piece
by her. Slie died at Vienna in 1840.

SCHMETTEKLING, Josef Adolf, was born at
Vienna in 1758. He painted miniatures witli some
success. He established himself in Amsterdam,
where he died in 1828. His daughter, Christiana,
was a painter of flowers and fruit, in water-colour.
She was born at Amsterdam in 1796. and died
there in 1840. Another daughter, Elizabeth, who
followed her father's profession of miniaturi.st, was
established in Amsterdam in 1804.

SCHMID, Karl August, painter, born at Neu-
burgin 1807, studied at the Munich Academy from
1822 to 1825, and then turned to out-door Nature.
He made drawings for works on natural history
and botany. He travelled through the Tyrol, Salz-
burg, and Upper Italy, and in 1831 produced a
series of water-colour hindscapes, illustrating his
travels. He died in 1834.

SCHMID, Peter, painter, born at Treves in 1769,
displayed talent for art as a bo}', and was instructed
in painting through the help of Count von Walters-
dorf. He taught in Stettin, Berlin, and Frankfort
on a new system, laying great stress on a study of
nature, and published several books of instruction
embodying his theories. In 1834 he became pro-
fessor of drawing at Berlin.

SCHMID, Simon, born at Munich in 17G0, was
Court chaplain, and claims mention as one of the
inventors of lithograpliy. The first essays in
Kellheim stone were made by him. In 1788 lie
published eighteen lithographs, some in relief,
some in intaglio. He died at Munich in 1840.

SCHMIDT, Eduard, painter, a native of Berlin,
was a pupil of Blechen, and painted chiefly sea-
pieces, from the coasts of Heligoland, England,
and Sweden. He died in 1862.

SCHMIDT, Georg Friedrich, born at Berlin in
1712, was instructed in design and engraving by
G. P. Busch, at the Berlin Academy ; but he after-
wards went to Paris, where he became a pupil of
Nicholas Larmessins. In 1742 he was received
into the Paris Academy, and engraved, for his re-
ception plate, his fine portrait of P. Mignard. In
1744 he returned to Berlin, and was soon afterwards
appointed engraver to the King. He resided at
Berlin till 1757, when he was invited to St. Peters-
burg by the Empress Elizabeth, and commissioned
to organize a school of engraving, and to engrave
the Emperor's portrait. He returned to Berlin in
1762, and etched a few plates in the manner of
Rembrandt. He died at Berlin in 1775. The
following is a list of his better plates ; he engraved
about 200 in all.

The Empress Elizabeth of Russia ; after L. TocqiU.

Michael, Count de "Worouzow ; aftir the same.

Count Nicholas Esterliazi ; after the same.

Fred. Hen. Louis, Prince of Prussia ; after A. X'anloo.

Jean Paul Bignon, Abbfi de St. Quentin ; after Rigaud.

Constautine Searlati, Prince of Moldavia.

Ch. Gabriel de Caylus, Bishop of Auxerre ; after Fontaine.

PAINTERS AND ENGRAVERS.

Loalfi de la Tour d'Auvergne, Count d'Evreux ; q/Ver

Rigaud.
Ch. de St. Albin, Archbishop of Cambray ; after the same.
Pierre Mipiard ; after the same.
Antoine Pesne ; after a picture hy himself.
Maurice Quentin cie la Tour ; after the same.
The Virgin and Child, with St. John ; after Vandyck.
The Presentation in the Temple ; after Pietro Testa.
Alexander and his Physician ; after A nn. Carracci.
A Bust of the Virgin ; after Sassoferrato.
Dutch Boors regaling ; after A. Ostade.

ETCHINGS I.\ THE STYLE OF BEMBiUNDT.

His own Portrait, drawing.

The Portrait of Rembrandt ; after a picture ly himself.

The Raising of Jairus's Daughter ; after Rembrandt.

The Presentation in the Temple ; after Dietricy.

Lot and his Daughters ; after Rembrandt.

The Mother of Rembrandt ; after the same.

SCHMIDT, Heinrich, painter, born at Saar-
briick in 1740 (1760), painted historical works,
portraits, and landscapes. He lived chiefly at
Naples, and was painter to the court of Hesse
Darmstadt, and died in 1818.

SCHMIDT, Hei.nrich Friedbich Thomas, painter
.nnd engraver, bom at Berlin in 1780. He practised
first at Leipsic, and afterwards at Weimar. Tliere
are portraits by liim of Wieland, Gall, Scliiller,
Kant, and tl)e Czar, Alexander I.

SCHMIDT, ISAAK, born at Amsterdam in 1740,
received his first lessons in painting from Jan Van
Hu}-sum, and subsequently became a scholar of J.
M. Quinkhardt, with whom he remained six years.
After some attempts at portrait painting, in which
he did not succeed to his wishes, be applied himself
to landscape, and painted several good pictures in
concert with Juriaan Andriessen. His pictures are
not numerous, as he devoted much of his time to
teaching, and to poetry and music. He wrote
some comedies, and translated a ' Life of Rubens.'
He was one of the founders of the drawing academy
at Amsterdam in 1759, and continued to be a
director till the time of his death, which occurred
in 1818. His son Isaak practised portrait painting
for a time, but eventually became a professor in the
School of Artillery and Engineering at Delft. He
died in 1826.

SCHMIDT, JoHAXN Gottfried, engraver, bom
at Dresden in 1764, studied under Rasp, and pro-
duced many good engravings, among them a series
of fifty portraits of theologians.

SCHiUDT, JoHANN Heixbich, painter, was bom
at Hildburghausen in 1749. He studied at Leipsic,
and travelled through France and Italy, where he
made a name by portraits in oil and pastel. In
1775 he went to Dresden as court painter, and in
1791 painted a ' Council of Princes at Pillnitz.'
He executed pastel portraits of Suwarrow, Nelson,
the Archduke Charles, Napoleon, &c., and one of
the Princess Augusta of Saxony, now in the Dresden
Gallery. He died at Dresden in 1829.

SCHMIDT, Martin Joachim, painter and en-
graver, was bom at Grafenworth, near Krems, in
1718. He etched a number of altar-pieces and
mythological subjects, in the manner of Rembrandt
and Castiglione. He died in Krems in 1801. There
are some examples of his work in the Vienna
Aeademy.

bCHMIDT, Mathias, painter and engraver, bom
at Mannheim in 1749, painted landscapes, and copied
the etchings of Karel Dujardin, Adriaan van de
Velde, Jan Fyt, &c. He also etched a number
of plates after original drawings by Ferdinand
Kobell and Rembrandt. He died at Munich in 1823.

SCHMIDT, Maximilian, Grerman painter ; bom
August 23, 1818, at Berlin ; studied at the Berlin
Academy and also with Begas, Karl Kriiger, and
W. Schirmer. He travelled in Turkey, Palestine,
Egypt, the Ionian Islands, Italy, and England,
f.om 1861 to 1870. In 1868 he was appointed
Professor at the Weimar Art School. In 1872 he
taught at the Konigsberg Academy, of which later
on he was made Director. He painted landscapes
and architectural subjects. Works by him are to
be seen at the Galleries of Berlin, Danzig, Cologne,
Konigsberg, Munich, Rostock, &c. He also
executed frescoes. He obtained medals at Vienna
and at Berlin ; was the recipient of various Orders.
He died 1902.

SCU-MIL'T, Ole JOrgex, draughtsman and archi-
tect, was born at Copenhagen, July lo, 1793.
He studied for three years at the Copenhagen
Academy, winning various honours, and then went
to Italy, where he devoted himself to investiga-
tions at Pompeii and Herculaneum, and in 1830 he
published a number of outline drawings of the
antique frescoes, and sketches of arabesques, orna-
ments, &c. which liiid been brought to light in
the buried cities. He died at Hamburg, February
27, 1848.

SCHMIDT, WiLLKM Hendbik, painter, was
bom at Amsterdam in 1819. At first he combined
the study of art with his father's trade of mattress-
making, but a tour through Germany in 1840 con-
tributed largely to his improvement. In 1842 he
was professor in the Delft Academy. The Museum
at Cologne and the ilunich New Pinakothek possess
examples of his art. He died in 1849.

SCHMITHS, Heinbich N., (Schmitz,) engraver,
born at Kaisersworth, near Diisseldorf, in 1758.
His father was a fisherman, but J. L. Krahe took
him up and introduced him to art. He learned
copper engraving in Paris under Wille. He died at
Diisseldorf in 1790. Of his plates we m.ay name:

A group of Cliildren ; after Rulens.

Our Lord and St. John ; after Scarsellino.

Christ and the Magdalene ; after Baroecio.

SCHMITSON, Teutwart, born at Frankfort in
1830, a self-taught artist, was the son of an Austrian
officer. He painted his first large picture in Diis-
seldorf. Thence he went successively to Carls-
ruhe, Berlin, Italy, and Vienna. He wns fond of
animals, and often p.ainted them. He etched one
plate, ' The Return of Venus to Paphos.' He died
at Vienna in 1863.

SCHMUTZ, J. Johann RuDOLrn, a Swiss painter,
born at Regensperg, in the canton of Zurich, in 1670.
He was a scholar of Mathias Fuessli, and at first
applied himself to the study of historical painting,
but failing in this he turned his thoughts to por-
traiture, to which his genius was better adapted.
He visited England at a period when Sir Godfrey
Kneller was in the zenith of his reputation, and
imitated his style. He died in London in 1715.

SCHMUTZER, Jakob Matihias, the son of
Andreas Schmutzer, was bom at Vienna in 1733.
After learning the rudiments of design in iiis native
city under Donner, he went to Paris, where he
studied under J. G. Wille. On his return to Vienna
he was appointed director of the Academy estab-
lished by the Empress, IJIaria Theresa. He died
at Vienna in 1811. Among his plates are the
following :

Mutius Scaivola before Porsenna ; after Rubens.
St. Gregory repulsing Theodoeius ; after the same.

A BIOGRAPHICAL DICTIONARY OF

Veuus rising from the Sea ; nfter the same.

Neptune and Thetis ; aftir the same.

Wolf Hunt ; after Snyders.

Portraits of Prince Kaunitz ; after Tocque, Steincr^ and

Hiiijeitauer.
The Empress Maria Theresa ; after Du Creiix.
(And several other Imperial portraits.)

SCHMUTZER, Johann Adam, tlie eldest son of
Jakob Matthias Schmiitzer, born about 1700 at
Vienna, and died in 1739, was an engraver of little
ability.

SCHMUTZER, JosEru and Andreas, brothers
of the foregoing, were natives of V'ienna. They
are here included in one article, as they generally
worked juintly on the same plate, signing it Jos.
And. or And. Jos., as one or the other had done
most of it. Andreas died at Vienna in 1741, and
Joseph in 1740. We have, among twenty-live
given by Nagler, the following plates by them:

The Emperor Cliarles VI. ; after Met/tens.
The Empress Elizabeth Cbristian; after Auerhach.
Qiiesteuberg ; after ■Sei/holJ.

Two Views of a Temple ; after G. Galli Bibiena.
Three subjects from the History of Decius ; after the
pictures by Rubens in tbe Liechtenstein Gallery.

SCHMUTZER, Jdseph, a painter, born at Vienna
in 1806, was a pupil of the Academy and an ex-
cellent lithographer after the works of the old
Geniian masters. He died in 1837.

SCUNAPH AN, Abbaham, painter, bom at Leyden
in 1651, painted portraits and tigure subjects in
the style of Mieris, but his works are only to be
seen in the collections of the Anhalt-Dessau family,
to which he was painter. He died in 1691.

SCHNATZLER, JoiiANN ULr.lcH, portrait painter,
was born at Schuffliausen in 1704. He was a
painter of some talent, and also practised sculpture,
but his life was spoilt by intemperance. He died
in 176.S.

SCHNEBBELIE, Jacob C, bom in London in
1760, acquiring some knowledge of drawing under
Paul Saiidby, left his business as a confectioner,
and commenced teaching drawing. He was
appointed draughtsman to the Society of Anti-
quaries, and made drawings for the 'Gentleman's
Magazine' and ' Morris's Monastic Remains.' He
was chiefly employed on antiquarian and topogra-
phical subjects, which he drew and etched, or
aqua-tinted. He died in London in 1792. His
son, ItoBEiiT Bremmel Schnebbelik, was engaged
in drawing for the ' Gentleman's Magazine ' and
other periodicals. He was found in his room dead,
apparently from want, about 1849.

SCHNl5lDER, JoHAN.v Kaspar, painter, bom at
Mayence in 1753, was a pupil of Heideloff, and
painted altar-pieces, landsciipes, and portraits. In
the New Pinakothek at Munich there is a landscape
by him. He died in 1839.

SCHNEIDER, N. N., painter, was born in
Brabant in the first half of the 18th century. In
1753 he was a member of the Pictura Societj',
at the Hague, but afterwards migrated thence to
Amsterdam. lie painted landscapes with birds
and game.

SCHNELL, Friedrich, engraver, born at Darm-
stadt in 1790, a pupil of Haldenwang, has left an
engraving of Strassburg Cathedral, after a drawing
by August von Bayer, which displays great care
and attention to detail. He died in 1834.

SCHNELL, JoHANN, a portrait painter of Basle,
who visited England about 1720, and died at
Bristol.

SCHNELLBOTZ, Gabriel, (Schnellboltz,
ScHNELLiiOLTZ,) engraver, is said by some to
have been bom at Merseburg, by others at Wit-
tenberg, iu 1536. It appears that, in addition
to his pr.ictice as a designer and engraver, ho
carried on the business of a printer and bookseller
at Wittenberg, and published several works there
in 1662 and 1563. 'The mark S on a perpendicular
arrow is the rebus of his name.

SCHNETZ, Jean Victor, painter, bom at Ver-
sailles in 1787, studied under David, Regnault,
Gros, and Gerard, and, in 1810, exhibited his ' Death
of Colbert.' In 1825 he went to Italy, and by hi»
study there improved greatly in style and colouring,
as may be seen by the pictures he painted about
that time. The 'Battle of Ascalon' was the best
of these. On his return from Italy he painted for
several Parisian churches, among which were Notre
Dame de Lorette and St. Severin. In 1840 he
became director of the French Academy at Rome ;
but from 1847 to 1852 heresided in Paris, but went
to Rome again, returning in 1866 to Paris, and dying
there in 1870. Works :

Coudo at tlie Battle of Senef. (Versailles.)

Conde at Rocroi. (Do.)

The Battle of Ascalon. (Do.)

Several portraits. (Do.)

Esther and Jlordecai. (An'as.)

Funeral in the Koman Catacombs, (yantes.)

Ceiling of the ' Septieme Salle,' in the Louvre.

SCHNITZER, John', an early engraver on wood,
who flourished about the year 1486. He executed
the cuts for the edition of Ptolemy published at
Ulm in the above year. The Map of the World
is ornamented with ten heads, representing the
winds, rudely cut. It is inscribed, Inscidptum est
per Johannem Schnitzer de Arnsheim.

SCHNITZLER, J. Michael, painter, born at
Neuburg in 1785, the son of a painter, settled at
Augsburg when he was eighteen years old, and
worked at the Academy. Ho afterwards went to
Stiittgart, Ulm, and Munich, where he worked as a
scene-painter at the theatre. He painted animals in
the style of Hondekoeter. He died at Munich in
1862. Works :

Berlin. JVat. Gallery. Partridges on a Table.
Munich. A'eic Pinakothek, Hawk killing a Dove.

„ „ Three pictures of Dead Wild-

fowl.

SCHNIZER, Joseph vo.v, painter, born at Wein-
garten, near Ravensburg, in 1792, was the son of
an Austrian Colonel, and studied at the Munich
Academy. In 1812 he was obliged to enter the
army, but after serving through the campaigns of
1813, '14, and '15, he again took to art. He painted
several military pictures for the King of Wnrtem-
berg, among which were the 'Storming of Sens'
and the ' Battle of Montereau.' He died at Stiitt-
gart in 1870.

SCHNORR VON KAROLSFELD, Johann (or
Hans) Veit, painter, bom at Schneeberg, in the
Erzgebirge, in 1764, was intended for the law, and"
studied jurisprudence till he was twenty-five, when
he entered the art school of Oeser at Leipsic. On
the death of his father he gave himself up entirely
to art, and settled at Konigsberg. In 1802 he paid
visits to Paris and Vienna, and in 1803 was ap-
pointed teacher of drawing in the Academy at
Leipsic, and in 1816 director and professor. He
died at Leipsic in 1841.

SCHNORR VON KAROLSFELD, Julius (Veit
Hans), historical painter, bom at Leipsic in 1794,

PAINTEKS AND ENGRAVBBS.

first studied under his father, Hans Veit Schnorr,
but in 1811 went to the Academy at Vienna, and
in 1817 to Italy. He associated in Florence with
Kumolir, proceeding afterwards to Rome, where he
joined Cornelius, Overbeck, Veit, and Koch, and
formed one of the great German colony then in the
Eternal City. On Cornelius's recommendation he
was commissioned to paint scenes from Ariosto, in
fresco, in the Villa Massimi. In 1825 he was in-
vited to Munich, but before returning to Germany
he visited Sicily. In 1827 he went to Munich,
where he became professor in the Academy, and
<iecorated the ' Konigsbau ' with scenes from the
' Xiebelungen Lied.' In 1835 he accepted a com-
mission to paint scenes from the history of CharJe-
magne. Barbarossa, and Rudolf of Hapsburg in
the so-called ' Saalbau.' In 1846 he obeyed a
summons to become professor of the Dresden
Academy and director of the Picture Gallery,
which posts he retained till 1871, when he was
obliged to resign on account of ill health and loss
of sight. In 1851 he visited London, and entered
into an agreement with De Bunsen for an illus-
trated Bible, which came out at Leipsic in parts.
He made cartoons for some of the windows in St.
Paul's. He died at Dresden in 1872. Besides the
works above noted we may name :

Berlin. Kat. Gallery. Siegfried returning from the

Saxon "War. {Cartoon.)
„ „ Laying out the dead in Etzel's

Palace. (Dc.)
Dresden. Gallery. Visit of Ananias to PauL

(Cartoon for St. Paul's,

London.)
„ „ Visit of Zacliarias, Elizabeth,

and St. John to the Holy

Family.
UuDJch. Pinakothik. Hagen and Dankwjirt refuse to

greet Chrimhild.

SCHNORR VOX KAROLSFELD, Lnwvia Fer-
PINAND, painter, bom at Leipsic in 1789, was the
brother of Julius Schnorr, and received, like him,
his first instruction from their father, Hans Veit
Schnorr. In 1804 he went to Vienna, and at-
tended the Academy, where lie followed the style
of Fiiger, and made his reputation by a scene from
Goethe's 'Faust,' now in the Belvedere at Vienna.
He was appointed custodian of the Belvedere, in
Vienna, where he died in 1853. He etched a few
plates.

SCHOBELT, Pato, German painter; born
March 9, 1838, at Magdeburg ; studied first at the
Academies of Dtisseldorf, Berlin, and Paris, and
fiubsequently in Paris with Gleyre ; he received a
sum of money from the Prussian Government to
enable him to study in Italy, and he then settled
at Breslau, where he held the post of Art Professor.
His • Venus and Bellona' is in the Berlin National
■Gallery, and his 'Rape of Proserpine' and 'Triumph
of Genius ' are well known. 'The Festival Room
of the Cultusministerium contains work by him.
He died at Bre.vlau, May 2, 18y3.

SCHODLBERGER, Johann Nepomuck, painter,
horn at Vienna in 1779, was a pupil of the Institute
in Vienna, and painted and etched landscapes,
most of them with figures, such as, ' A View of the
Traunfall,' ' The Waterfall at Tivoli,' ' The Interior
of an Italian Church,' 'An ideal Landscape.' He
■died at Vienna in 1853.

SCHOEMACKER-DOYER, Jakob, painter, was
bom at Crefeld about 1792. His father, who was
Dutch, took his sou while still a boy to Amster-
dam, where he became the pupil of S. Aodrieaeen.

He also studied under M. van Br^e at Antwerp,
after which he returned to Holland, and divided
his time between Amsterdam and Zwolle. He
painted portraits, genre, and sometimes history.

SCHOENMACKERS, Jan Pietersz, or Pietersz
Jax, born at Dort in 1755, was a pupil of Jacob
van Stry, and painted views of cities in the manner
of Vander Heyden. His pictures are to be found
in the best modern collections in Holland. The
figures in them were painted by the best of his
contemporaries. At one of the exhibitions at Dort
there were four pictures by him, in which the
vessels and figures were painted by J. C. Schotel,
and a similar work is in the Amsterdam Museum.
Schoenniiickers died in 1842.

SCHOENN, Alois, German painter and engraver;
born March 11, 1826, at Vienna; became a pupil
of Ftihrich and L. Russ, and for two years (1850
to 1851) studied with Horace Vernet in Paris. He
went through the Italian campaign of 1848,
travelled in the East and in Hungary, and then
settled at Vienna, where he painted landscape and
genre, and also scenes from Jewish popular life.
His 'Auszug der Studenten' is in the Museum,
Innsbruck, and ' Zigeunerlager,' ' Sturm auf Lo-
drone,"Volkstheaterauf Chioggia'and'Egyptische
Hochzeit ' are effective examples of his work at its
best. He obtained the Berlin gold medal in 1875,
the Legion of Honour in 1878, and the Karl
Ludwig medal (Viennn) and Francis Joseph Order
in 1882 and 1883. He died at Krumpendorf
(Carinthia), September 16, 1897.

SCHOEVAERDTS, (or Schovaerts,) M., a
Flemish painter of village festivals and merry-
makings, is supposed to have been born in 1G67.
His pictures are frequently met with in the
Netherlands, and possess considerable merit. His
baptismal name has not been ascertained. He
signed his pictures, and his two known etchings,
M. SchoevaerdU. Two of his works have been
engraved under the titles ' Fete de campagne Hol-
landaise,' and ' Retour de la Fete HoUandaise.'
There are two village scenes by him in the Gallery
of the Louvre. He has been sometimes confounded
with Christopher Schwartz.

SCHOLDEKER. Otto, German painter ; bom
in 1834, at Frankfort-on-the-Maine, where he first
studied ; was for some years resident in London ;
died at Frankfort, 1902.

SCHON, Bartel. See Schokgadkr.

SCHON, Erhard, painter and draughtsman on
wood, a pupil or imitator of Diirer, died in 1542.
He resided at Nuremberg, and much of his
early work is to be found in books published,
there or at Lyons, by the firm of Koberger,
especially in the 'Hortulus Animae' (editions of
1517, 1518, 1520), in the Vulgates printed at
Lyons by Sacon and Marion in 1519, 1520,
1521, and 1522, and in the German Bible printed
at Nuremberg by Peypus in 1524. In all these
works his illustrations are mixed with those
of Springinklee. His woodcuts are very imper-
fectly described by Bartsch. His most important
separate cut is a large rosary (Pass. iii. 35, 243).
He designed a pack of playing-cards. About 1528
he had relations with Bohemian printers and pub-
lishers, and one of his best works is a title-border,
with tlie tree of Jesse, bearing that date, which
appeared in a Bohemian Bible printed at Prague
in 1529. In 1538 he issued at Nuremberg a work
on proportion and drawing, to which he added five
new cuts, dealing with the proportions of l^e horse,

A BIOGRAPHICAL DICTIONARY OF

in the third edition of 1542. He signed his wood-
cuts with the monogram E, to wliicb he some-
times added a pen, the emblem of the draughtsman
(not to be mistaken for a woodcutter's knife). C. D.

SCHON, Friedrich Wilhelm, painter, bom at
Worms in 1810, studied at Darmstadt and Munich.
He painted social subjects, and lamp and fire-light
scenes, such as — ' The reading Maiden,' ' Going to
Church in the Bernese Oberland,' ' Return home of
the Soldier,' ' South German Emigrants in a North
German Port,' ' Meeting of an Art Society,' witli
fifty portraits, &c. He published a few lithographs.
He died at Munich in 1868.

SCHON, JoHANN GoTTLOB, flourished at Dresden
in the first half of the 18th century, and was a
pupil of Alexander Thiele. He painted and etched
several landscapes. He went in 1740 with Isinael
Mengs to Rome, where he died.

SCHON, LuDwiG. See Schongauer,

SCHON, Martin. See Schonqaoer.

SCHONBERGER, Lorenz, painter, was born at
Voslau, near Vienna. He was a pupil of the
Vienna Academy under Wutki. In 1798 he was
living in Bohemia. He afterwards visited Italy,
England, Paris, and Amsterdam. There are pictures
by him in the Galleries of Vienna and Hamburg.
He etched twenty plates, and died about 1840.

SCHONBRUNNER, Karl, painter, born at
Vienna in 1832, a pupil of the Academy under
Fiihrich, studied also at Rome and Venice. His
great work is ' Bishop Ambrose repulsing the
Emperor Theodosius.' He died in the Castle of
Hirschstetten in 1877.

SCHONER, Gustav Friedrich Adolph, painter,
bom at Massbach, near Schweinfurt, in 1774, was
first a pupil of Konrad Geiger in Schweinfurt, then
of Gratf in Dresden, and lastly of David in Paris.
He lived for a long time in Bern, where he painted
a portrait of Pestalozzi, and a good profile of
Napoleon. In 1807 he went to Italy, and in after
years we find him at Halberstadt. He executed
several excellent copies of pictures after Guido, the
Carracci, &c. He died at Bremen in 1841.

SCHONFELD, Heinricu, painter, was born at
Dresden in 1809. He at first painted scenery for
theatres, but afterwards took to architectural paint-
ing, chiefly of old German buildings. He died at
Munich in 1845.

SCHONFELDT, JoHANN Heinrich, (Schenfeld,)
painter, was born at Biberach in 1609, and was a
scholar of Johann Sichelbein. He visited _ the
principal cities in Germany, and had already given
proof of talent, when he determined to visit Italy.
On his arrival at Rome he found employment in
the church of S. Elisabetta de' Fornari, and in the
Palazzo Orsini. On his return to Germany ne
practised as an historical painter at Vienna, Munich,
Salzburg, Augsburg, and other cities. Among his
better works are his pictures of ' Christ on the way
to Calvary,' and the ' Descent from the Cross,' in
the church of the Holy Cross at Augsburg, where
he resided in tlie latter part of his life. In the
Senate-house of that city there is a picture by
Schonfeldt representing the race of Hippomenes
and Atalanta. He died at Augsburg about 1680.
We have a few slight etchings hy Schonfeldt, among
■which are the following :

A Head of our Saviour.

A pa.storal subject, with a Shepherd playing on a flute,

unJ a Shepherdess holdiag a triangle.
46

A Landscape, with a Man sitting on a rock.
A Bacchanal with children.

SCHONGAUER (or SCHON), Bartel, engraver,
is supposed to have flourished at Ulm about 1479.
According to some he was the brother of Martin
Schongauer, whose style he followed. But his
real name and the facts of his life are involved in
obscurity. His prints are usually marked with
a B. and an S. in the old German character, with

a cross between them, thus, '\3PC^* 1''^ fo^*

lowing plates by him may be named :

1. Chri.st on the Moimt of Olives ; a copy from one of
M. Si-honifaner^s * Passion ' sei'ies.

2. The Hearing of the Cross ; ditto.

3. The Two Lovers (reversed from the plates of Israel
van Meckenen and the Jfaster W. ).

4. A Concert in the Garden.

5. The Fool and the Cook. {Douce Collection, Oxford.)

6. The Beggars with a Wheelbarrow.

7. Mother with Children and Shield.

S. The Peasant with Shield and Garlic Plants.
9. Armorial Bear.ugs of the families of Kohrbach and
Holzhausen.

10. A Family of Monkeys.

11. A Wild Man amid ornamental foliage.

12. Ornamental Foliage.

(All these except No. 5 are in the British Museum).

For fuller information as to this master see
Naumann's Archio., Zweiter Jahrgang, § 168.

SCHONGAUER (named SCHON), IUrtin,
painter and engraver, was born at Colmar about
1445-50. His ancestors had ranked among the
patrician families of Augsburg for at least two
centuries. The namp is derived from Schongau,
on the Lech, in Bavaria ; "Schon" — or its equiva-
lent " Hiib.sch " — is an epithet applied to Martin the
artist, and not a family name ; it was used by old
writers in many languages, a.s "Beau Martin," " II
Bel Martino," «S:c. Caspar Schongauer, goldsmith,
emigrated, not later than 1440, to Colmar, where he
became a citizen in 1445. He was Uving in 1481.
He had five sons : LuDWiG, a painter and indifferent
engraver, Caspar, Georg, and Paul, goldsmiths, and
Martin. The order of seniority among the brothers
is unknown. Caspar, Ludwig and Paul received
Diirer at Colmar in 1492, alter Martin's death ;
Georg was Diirer's host at Basle. In 1465 Martin
Schongauer, of Colmar, matriculated at Leipsic
University. In 1469 he was already a house-
holder at Colmar. Two drawings by him in the
British Museum belong to that year, one being
dated in the artist's own hand, the other in that of
Diirer. It seems clear that Schongauer, in addition
to learning the goldsmith's craft, as a foundation
for his skill as an engraver, received his training
as a painter in the Netherlands. Lambert Lombard,
in a letter to Vasari, describes him as a pupil of
Rogier van der Weyden, whose influence is ap-
parent in Schorigauer's masterpiece, 'The Madonna
of the Rose Garden,' dated on the back 1473, in
St. Martin's Church, Colmar. An old copy of this
picture, on a small scale, in the collection of Mrs.
Gardner at Boston, preserves the complete com-
position of the original, which has been greatly cut
down. In 1477 Schongauer bought a new house.
In 1488 he founded an anniversary mass for his
parents and himself at St. Martin's. In 1489 he
was a citizen of Breisach, and there he died, ap-
parently unmarried, in 1491 (probably on February
2, certainly before June). He seems to have
painted his own portrait in 1483 : a copy of this,
much later, by Burgkmair, is in the Munich Gal-
lery, another old copy, with the date 1453, at Siena.

vMie iM/r^i -uv 6U •Jarden^ oy- rJlcc

'ff-orf^n- ch:/t<

PAINTERS AND ENGRAVERS.

No picture is certified by signature or document
as Scliongnuer's work. The pictures nearest to
liim in style, alter the Cohnar Madonna, are two
small 'Holy Families,' at Munich and Vienna, and
an 'Adoration of the Sheplierds,' at Berlin. Two
wings of an altar-piece from Isenlieim, represent-
ing the 'Annunciation' on one side, 'The Virgin
adoring Christ 'and ' St. Anthony ' on the other, are
the best pictures called by his name in the Coluiar
Museum ; the 'Passion,' in sixteen subjects, is a
school work; so is the so-called ' Schongaiier
Altar' in the Ulm Minster. There are more than a
hundred engravings authenticated by his signature,
the initials M.S., with a cross, one arm of which
is hooked. Schongauer's Madonnas and Saints
are distinguished by their tenderuess, purity, and
reverence ; his type of Christ is also most retine d.
He was not a consummate drauglitsiuan, but in
tlie technique of liiie-engravin< was unrivalled in
the 6fteenlh century, and scarcely surpassed by
Diirer. His ornamental plates, such as the 'Censor'
and ' Pastural Staff,' are extreTuely beautiful. The
best collection of his engravings is at Berlin. A
good one is in the British Museum. All the litera-
ture relating to Schongaiier is cited and summarized
in ' Bibliographie des Oiivrages et Articles con-
cernant Martin Schongauer, &c.,' by Andr^ Waltz,
Colmar, 1903. C. D.

Of Schongauer's plates from his own compositions
the following are perliaps tlie best :

1. The Angel of the Annuuciatiou.

2. * Ecce AnciIJa Domini.'

3. The Angelic Salutation.

4. The Nativity.

5. The Small Nativity.

*). The Adoration of the Kiags.

7. The Flight into Egypt.

8. The Bapti.'iin of Cliri.,t,

9-20. A ' Passiou ' series of twelve plates.

21. The large Keariug the Crons.

22. Chri.st ou the Cross, with several figures.

23. Christ on the Cruss, with the \"irgin and St. Joho

only.

24. Christ on the Cros.s, with soldier.? dividing his

garments.
95. The ' Large Christ ou the Cross,' with angels re-
ceiving the blood.

28. A Christ ou the Cross, with the Virgin and St. Jolin
27. ' Noli me Tangere.'

25. The small ' Virgin and Child."

29. The large ' Virgin and Child.'

30. Virgin and Child with Parrot and Cushion.

31. Virgin and Child on a ]!ank, before a wattled feuce.

32. Virgin and Child, in a Court.

33. Virgin and Child, on a crescent moon.

34. Death of the Virgin.
35-46. The Twelve Apostles.

47. St. Anthony the Hermit, with the bell and pig.

48. St. Anthouy tormented by Demons.

49. St. Christopher.

50. St. George slaying the Dragon with a spear.

51. St. George slaying the Dragon with a sword.

52. St. George riding over the Dragon.

53. St. James the Greater on a white horse.

54. St. John the B.iptist, with the Agnus Dei.

55. St. John the Evangelist writing the Apocalypse.

56. St. Lawrence with palm and gridiron.

57. St. Martin and the Beggar.

58. The Archangel Michael and the Dragon.

59. The larger St. Sebastian.

60. The smaller St. Sebastian.

61. St. Stephen with the Balm-branch.

62. A Bishop.

63. St. Agnes with Palm and Lamb.

64. St. Barbara with Tower.

65. The large St. Catherine of Alexandria.

66. The small St. Catherine of Alexandria.

67. St. Veronica with the Sudariura.

68. The Infant Sanour with the Imperial Orb.

69. Christ in the Act of Benediction.

70. The • Man of Sorrows.'

71. God the Father, enthroned.

72. God the Father, enthroned, with the Virgin and

Angels.

73. God the Father crowning the Virgin.

74-77. The Creature Symbols of the Four Evangelists.

78. The Five M'ise Virgins.

79. The Five Foolisli Virgins.

80. Bust of a ' Foohsh Virgin.'

81. Pea.sant going to Market, with his wife an 1 child.

82. Man with an Ass and its Foal.

83. Two Armed Pedestrians conversing (?).

84. Two Yoi:ths quarrelling.

85. Eleph.ant with Howdah (,?).

86. An Imaginary Beast.

87. A Stag anil Doe.

88. A Family of Pigs.

89. Male aiid Female Figures supporting shields.

90. The Head of a Bishop's Pastoral staff.

91. A Censer.

92. A Monstrance.

93-102. Ten I'lates of Ornamental Foliage.

(All these, with the exception of half-a-dozen, are
JD the British Museum.)

SCHONINGEK, Leo, horn at Vv'eil inWiirtem-
berg in 1811, went in 1825 to the Boisser^e Insti-
tute to lithograph old German pictures. In 1827
he studied at the Munich Academy under Cornelius
and Stieler. He afterwards lithographed several
pictui-es in the Leuchtemberg Gallery. He died in
1880.

SCHUNMANN, Joseph, painter, was born at
Vienna, April 19, 1799. He studied at the Vienna
Academy, and afterwards at Home, and is known
principally by pictures painted for various churches,
at Trieste and Vienna. He was a member of the
Vienna Academy.

SCHOOCK, or SCHOOK, Hendmk, the son of
GiSBERT ScHooCK, a painter of Bommel, bom at
Utrecht about 1670. He painted flowers and fruit.

SCHOOF, Gerhabdt, historical painter, was
born .at Mechlin in the 16th century. He vcas the
son of one Jakob Schoof, and perhaps the grand-
son of Jan Schoof. In 1.575 he was admitted into
the Antwerp Corporation of St. Luke, of whioli he
was dean iu 1588. He had a large number of
pupils. In 1612 he gave an altar-piece to the
church of Hoboken, on condition that every year
he and his wife should be carried to the kermesse
in that town in a covered car and provided with a
good dinner. In 1614 a Willem Schoof, and in
1622-3 a Jan ScHoor, who may have been his
sons, were inscribed on the registers of St. Luke,
the former as a master, the latter as a pupil.

SCHOOF, Jan, a painter of Mechlin in (he 16lh
century. In 1514 he was commissioned by the
magistrates of his native city to paint the council
summoned by Charles the Bold. The picture was
placed in the church of St. Kumbold, and waa
destroyed by the Image-breakers.

SCHOOF, Rudolf. A Flemish painter of this
name was appointed to the household of Louis
XIII. of France, and numbered Adriaan De Bie
among his pupils.

SCHOONEBECK, Adbiaan, a Dutch engraver,
was born at Amsterdam in 1650. He engraved a
variety of frontispieces and other plates fur books,
and published, in two volumes, the 'habits' of all
the religious orders in Europe. He died at Moscow
in 1714.

SCHOONJANS, Anthonie, called Parrhasius,
born at Antwerp in 1650, was a scholar of Erasmus
Quellin, under whom he studied until he was
nineteen years of age, when he travelled to Italy

A BIOGRAPHICAL DICTIONARY OF

in search of improvement. During a residence of
ten years at Rome he distinguished himself by an
esemphiry appHcation to his studies, and painted
eotiie pictures for the churches, which gained him
considerable reputation. In 1678 he was invited
to the court of Vienna by the Emperor Leopold,
who appointed hiiii his painter. The desire to visit
England induced him to request leave of absence and
he came to lliis country in the reign of King William.
His portrait, painted by himself, was in the collec-
tion at Strawberry Hill. On his way biick to Vienna
he passed some time at Diisseldorf, where he painted
some pictures for the Elector Palatine, who pre-
sented him with a gold medal and chain. He died
at Vieima in 1726. There is an example of his
work in the Munich Piuakothek.

SCHOOli, Nicolas van, born at Antwerp in 1666,
painted fanciful groups, in the flower-pieces by
Kysbraeck and others. He also made designs for
tapestry at Antwerp and Brussels. He died at
Antwerp in 1726. In the Museum at (ihent there
is an equestrian portrait by him of Cliarles II. of
Sjiain, painted when that prince was about eighteen.
SCUOOHE, J. v., a Flemish engraver, who
flourished about the year 1650. Among other
.prints he engraved a plate of St. Vincent, after
Anthonie Sallaert.

SCHOOTEN, Fbans van, was an amateur painter
of fruit and flowers, who practised at Leyden in the
17tli century, and was a professor at the University.
It is supposed that he was related to Joris van
Schooten. In some of his pictures, figures were
inserted bv Frederic Moucheron.

SCH(.)OTEN, JoRis van. was born at Leyden
about 1587. He was a pupil of Coenrad van der
Maes of Leyden, and was already a portrait pamter
(,f repute at the age of twenty. In 1610 he com-
bined with other artists to sign a petition to the
local authorities of Leyden, requesting the neces-
fiary privileges for the formation of a Guild of St.
Luke. The large portrait pieces of many figures
which he usually painted are characterized by good
colour and a knowledge of chiaroscuro, and have
much individuality, thougli they are poor in com-
position. Several of them were portrait groups of
the Civil Guard or Shooting Guild of Leyden in
the years 1626, 1628, and 1650, and are now pre-
served in the Museum of that city, where are also
two curious allegorical pictures. In the Rijks
Museum at Amsterdam there is an ' Adoration of
the Kings ' by him. Jan Lievens and Abraham
van den Tempel were for a time his pupils. Suy-
derhoef engraved one of his portraits, and J. G.
Van Vliet a ' Christ and the Woman of Samaria ' ;
it is inscribed J. van Schooten, 1636. Schooten

died in 1658. rr, ,^ • u

SCHOPF, Joseph, painter, born at Telfs in the
Oberinuthal in 1745, was instructed by Martin
Knoller. and then went in 1776 to Rome, where he
studied Raphael and Correggio, and came under the
influence of Mengs. On his return he painted
frescoes for many churches in the neighbourhood
of Innspruok. He died in 1822.

SCHOPFER, Hans, painter, a native of Munich,
was born about the middle of the 16th century.
His works have been given to Hans Schaufelin and
A. Diirer. He painted the following portraits : the
Countess Euphrosyne of Oettingen and Benigna von
Lamberg at Scbleissbeim. Caspar von Pienyenau
.n the Moritz Chapel at Nuremberg ; and several
altar-pieces, among which was one for the Pilgrims'
Church at Ramersdorf, near Munich. He died in
48

1610. He signed his works with his initials and a
roughly-drawn spoon.

SCHOPIN, Henry FB^ofiBic, painter, was bom
at Lubeck, of French parents, in 1804. He studied
in Paris under Gros, and gained the ' prix de Rome'
in 1830. He was several times preraiated, and was
a constant exhibitor at the Salon from 1830 onwards.
He died in 1880. The following are examples of
hie work :

Douai. Museum, Tjast Moments of the Cenci.

Metz. „ Battle of Hohenlinden.

Toulouse. „ Jacob and Labau.

Versailles. „ Portrait of Cambac^res.

„ ,, Portrait of Marshal Bidal.

„ „ The Taking of Antioch in 1098.

And a series of pictures illus-
trating the legend of St. S»-
tnruimis for the chapel of the
saint at Foutainebleau.

SCHOPPE, Jdlids, painter, born at Berliu in
1797. He received his art education in Rome,
where he made a special study of the works of
Raphael, Correggio, and Titian. In 1825 he painted
for his reception picture at the Berlin Academy a
'Death of Frederick William III.,' which attracted
some attention. He decorated Prince Charles'
country house at Glienicke, near Potsdam, with
mythological paintings, and was also much em-
ployed as a portrait painter. His oil pictures in
miniature are generally more pleasing than his
larger works. Among his most successful portraits
are those of the Duchess of Orleans and of the
Count and Countess von Amim.

SCHOKN, Karl, born at Dusseldorf in 1800,
studied at Munich under Cornelius, from 1824 to
1827 in Paris under Gros and Ingres, and from 1832
onwards worked in Wach's atelier at Berlin. He
soon produced a number of pictures, among which
were, 'Mary Stuart and Rizzio,' 'Charles V. at
St. Yuste,' ' Cromwell before the Battle of Dunbar."
From Berlin he went to Munich, where he pro-
duced several works of a mythical and allegorical
nature. He visited Italy from time to time on
short journeys, and so supplied himself with ma-
terial for fresh pictures. He painted in the Arcades
of the Munich Hof-garten. In 1847 he was elected
professor of the Munich Academy, which post he
held till his death, which took place at Munich in
1850. Works :

BerUn. yational Gallery. Card-players.

j^ „ Pope Paul III. before Luther's

Portrait.
Munich. N. Piuakothek. The Deluge; unfinished, owing

to the artist's death.

SCHORPP, Michel, a German painter of the
15th century, known only by a print in the ' Biblio-
theque Nationale ' of Paris. It is a Madonna in
the Byzantine manner, and bears the following
inscription: Michel Shorpp, maeler m Vim, 1496.

SCHORQUKNS, Jan, a Dutch engraver, who
resided at Madrid about the year 1620. He was
an excellent engraver of title-pages, of which he
executed many for Spanish books from 1618 to
1630. Some are signed J. van Schorquens,
fecit, in Madrid. His best plate is a View of
Lisbon in the official report of the coronation of
Phillip III.

SCHOTANUS, PiETER, a Dutch painter of the
17th century, who probably practised as an ama-
teur at Leeuwarden. He painted village fetes,
battles, and kindred subjects.

SCHOTEL, Christina, the daughter of Johnim
Chrietianus Schotel, was born at Dordrecht in 1818.

PAINTERS AND ENGRAVERS.

She was taught by her father and by her brotiier
Petrus. and painted flowers, fruit, and still-life.
She died at Aardenburg in 1854.

SCHOTEL, JoiiANN Christianus, a distinguished
marine painter, was born at Dort in 1787. He
was a scholar of A. lleulemans, and subsequently
of Martin Schouman. At the conclusion of his
pupilage he devoted himself to the study of nature,
for which purpose ho would, like Backhuysen,
go to sea in an open boat. From 1814 to 1817
he worked in concert witli Martin Schouman, on
two pictures representing the retreat of the French
from Dort, and the bombardment of Algiers.
Schotel received honours from his own sovereign
and other crowned heads, and was a member of
several academies and societies of arts. His pic-
tures were at one time eagerly sought after. He
died at Dort the 21st of December, 1838.

SCHOTEL, Petrus Johann, bom at Dort in 1808,
a son and pupil of Joliann Christianus Schotel, in
whose footsteps he followed. His best picture is
'The Anchorage near Tesel in stormy weather.'
He died at Dresden in 1865.

SCHOTT, August, bom at Giessen in 1811,
studied first under Diicor^e, and afterwards at the
Stadel Institute, in Frankfort, and at the M'mich
Academy. He made several pencil drawings, and
painted small historical pictures, but aftem'ards
became a follower of Overbeck and Steinle, several
of whose pictures he reproduced in lithography.
He died in 184.3.

SCHOUMAN, Aart, a Dutch painter and en-
graver, bom at Dort in 1710, was a painter of some
merit, particular!}' of birds, which he painted i:;
the manner of Hondekoeter and Weeninx. He
also painted landscapes with animals, portraits,
small historical pictures, and subjects from the
poets, especially from Ovid's ■ Metamorphoses. ' He
was a good draughtsman and colourist, and at one
time engraved on crystal. His rather poor mezzo-
tints are after Gerard Dou, Schalcken, Paul Potter,
Frans Hals, &c. He resided constantly at the
Hague, where he died in 1792.

SCHOUMAN, Martincs, marine painter, bom at
Dort in 1770, first studied under Versteeg, and then
under his uncle, Aart Schouman. He excelled in
the representation of shi[is, and of still and troubled
waters. His chief pictures are, 'The Bombard-
ment of Algiers,' ' The Departure of the French
from Dort,' painted in conjunction with Schotel.
He died in 1853. His son Isaac, born at Dordrecht
in 1801, was liis pupil, and painted genre pictures
and marine subjects.

SCHOYEX, C., a Norwegian landscape painter,
who studied under Eckersburg and Yude, and
practised in Germany. He died while still young
in 1870.

SCHKAMJI, JoHANN Heinrioh, born at Teschen,
in Austrian Silesia, made pencil-portraits of Thor-
waldsen, Mendelssohn, Andersen, Metternich, Cor-
nelius, Grimm, and others. He died at Vienna in
1865.

SCHRAMM, JoHANK Michael, born at Sulzbach,
in Bavaria, in 1772, was first a gold worker, and
then went to Munich in 1793, where he practised
miniature painting and engraving. In 1801 he
went to the Academy at Vienna, and studied for
three yeats, after which he returned and settled at
Munich, where he died in 1835.

SCHRAUDOLPH, Claudius von, German
painter; bom February 4, 1843, at Munich ; became
a pupil of his father, and subsequently worked

VOL. V. E

under Anschiitz and Hiltensperger at the Munich
Academy. After travel in Italy and France he
settled at Stuttgart, where he became Director of
tlie Art School. Painted frescoes at the Niiremberg
Exhibition of 1884, and his canvases, ' Faust and
Wagner' and 'A Venetian Concert,' are well
kno^-n. He was the recipient of many Orders of
distinction. He died at Stuttgart in 1891.

SCHRAUDOLPH, Johann von, born at Oberts-
dorf, in Algau, in 1808, received his first instruction
at tlie Munich Academy, principally under Cornelius
and Schlotthauer. He helped tlie latter with the
frescoes of the Glyptotliek, and then with his
scenes from the history of Moses in the church of
All Saints. In 1844 he went to Rome, and on his
retum was commissioned to decorate the cathedral
at Spires. He died at Munich in 1879. Of his
pictures we may name :

Munich. Pinakotkeh St. Agnes with tlie Lamb.

„ „ The Virgin and Child.

„ ,, Euth and Naomi.

„ „ The Ascension of Christ.

„ ,, The Miraculous Draught of

Fishes.

„ „ Adoration of the Kings.

„ „ Worship of the Virgin.

„ „ Clirist healing the Sick.

,■ „ Christ nailed to the Cross.

SCHREIBER, Moeitz, was working at Leipoio
from 1539 to 1556, in collaboration with one
Heinrich Schi.'idt, a painter whose name occurs
between 1501 and 1541, in the town archives.
Schreiber appears to have been the better artist of
the p.-iir.

SCHREUEL, .Iohann Christian Albrecht,
draughtsman and painter, bom at Maestriclit in
1773, was an oflScer in the Dutch service, but gave
up his profession for the practice of art. He
studied at Berlin, and afterwards at Dresden, with
Grassi, under whose guidance he became a good
miniaturist, and painted portraits of many dis-
tinguished persons. He also occupied himself
much in making copies from the pictures in the
Dresden Gallery.

SCHREYER, Adolf, German painter, born May
9, 1828, at Frankfort-on-the-Maine ; became a
pupil of the Staedel Institute at Frankfort, and
also studied at the Munich Academy ; went through
the Crimean campaign as war artist, and settled
finally in Paris in 1862. When the Franco-
Gennan war broke out in 1870 he returned to
Cronberg. He obtained distinction as a painter
of battle-pieces and horses. Examples of hi.s work
are in the Galleries of Berlin, Hamburg, Suhwerin,
and Washington. He obtained medals in Paris in
1864, 1865, and 1867. He died at Cronberg, July
29. 1899.

SCHRIECK, Otto Marcellis van. called Snuf-
FELAER, a Dutch painter, born at Amsterdam in
1613. It is not known by whom he was instructed,
but he acquired considerable celebrity by his excel-
lence in a very singular branch of art. He painted
reptiles, insects, and curious plants, which he de-
signed with surprising fidelity, and finished with
extraordinary care. He resided some time in Paris,
and afterwards visited Florence, where his talents
were distinguished by the Grand Duke, Naples, and
Rome, where he passed several years. He painted
entirely from nature, to which end he is said to
have kept a kind of museum of serpents, vipers,
rare insects, and other curiosities. His pictures
are found in the choicest collections in Holland.

A BIOGRAPHICAL DICTIONARY OF

There is a good example of his art in the National
Gallery. lie died at Amsterdam in 1673.

SCHRODER, Friedrich, was born at Hesse Cassel
in 17C8, and was a scholar of Klauber, an engraver of
Augsburg. He confined himself chiefly to land-
scapes, and engraved several after Swanevelt,
Vernet, La Hire, Karel du Jardin, and Bemrocl, in
the manner of Woollett. He also assisted in the
backgrounds and ornamental parts of plates in
which the figures were executed by other artists,
among which were the ' Sabines ' by Massard, and
' Henry IV.'s Entry into Paris ' by Toschi.

SCHRODER, Georg Engelhard, a Swedish
painter, Ijorn at Stockhulm in 1684. He died in
1750.

SCHRODER, Hans, a German engraver, wlio
flourished about tlie year 1600. He engraved some
plates of ornamental foliage, &c.

SCHRODER, JoHANN Heinrich, born at Meinin-
gen in 1757, learned his art of Tischbein in Cassel,
and practised as a portrait painter. He worked
in Hanover and Brunswick, and then travelled
through the Netherlands and England, where he
painted several members of the Royal Family.
On his return he painted a portrait of Frederick
William II., King of Prussia. He died at Meinin-
gen in 1812.

SCHRODER, Karl, painter, was born at Bruns-
wick in l.'-02. From 1817 to 1824 he attended the
Academy Schools at Dresden, and then settled for
a time at Munich. On his return to liis native
town lie became known chiefly as a painter of
humorous genre pictures, many of which were
further popularized by lithographs.

SCHRODER, Karl, engraver, born in 1761, at
Brunswick, where, after studying in Augsburg and
Paris, he settled down and engraved many plates,
chiefly after pictures in the now dispersed Salz-
dahlum collection, such as:

Abraham's Sacrifice ; after Lievens.
The Marriage Contract ; nfler Jan Steen.
The Youug Man in the Cloak ; after Eoninck.
Young Woman of Salzburg ; after Peine.

He etched a few plates.

SCHRODTER, Adolf, born in Schwedt in 1805.
In 1820 he entered the studio of Professor Buck-
horn, the engraver ; in 1829 he went to Dusseldorf,
and studied under W. von Schadow ; in 1831 he
began to paint, and in 1855 was made professor to
the Polytechnic at Carlsruhe, wliich post he re-
signed in 1872. He died at Carlsruhe in 1875.
He produced many book illustrations, and the
Berlin National Gallery contains examples of his
painting.

SCHROEDER, WiLLlAMHowARD,English black-
and-white artist ; the first real artist that South
Africa produced ; best known as a caricaturist ;
many of his political cartoons in the ' Press ' of
Pretoria were copied by London papers ; his early
death occurred at Pretoria, in August 1892.

SCHROTER, JoHANN Friedrich, engraver, born
at Leipeic in 1770, was a pupil of Bause. In 1813
he was appointed engraver to the Leipsic Uni-
versity. He executed some plates after Rembrandt,
but his works were chiefly anatomical. He died at
Leipsic in 1836.

SCHROTER, JouANN Friedrich Karl Konstajj-
TLS, painter, born at Schkeuditz, between Halle
and Leipsic, in 1795. In 1811 he went to the
Drawing School at Leipsic, and in 1817 to Dresden,
where he entered the utelier of ProfcBSjr Pochmann.

In 1819 he returned to Leipsic.wherehe earned his
living by portrait-painting, which, however, he
eventually abandoned, on the advice of Schr.orr, for
genre. In 1826 he settled at Berlin, where iie
died in 1835. His principal pictures are:

Mother and Daughter Spinning.

The Sermon.

The Music Teacher. (National Galleiy, Uerliii.)

The Village School.

The Sale of a Painter's Effects.

SCHTSCHEDRIN , Semen Fedorowitsch,
painter, a native of St. Petersburg, who after study-
ing at the Academy went to Italy, and on his re-
turn became painter to Catherine II. He painted
Italian landscapes. He died in 1804.

SCHTSCHEDRIN, Silvester Fedorowitsch,
painter, born at St. Petersburg in 1791, received
his early training at the Academy under Iwanoff
and Worobieif, and then studied in Germany and
Italy. He showed a great talent for landscape.
Iq the Hermitage at St. Petersburg are 'The
Colosseum,' and the ' Lake of Nemi,' by him. He
died at Sorrento in 1830.

SCHDBACK, Gottlieb Emil, German painter ;
born June 28, 1820, at Hamburg, where he became
a pupil of G. Hardortf; he also studied with
Cornelius and Hess at Munich, and, at Diisseldorf,
with Jordan, while from 1843 to 1848 he worked
at Rome. In 1856 he settled at Diisseldorf. His
works include an altar-piece, ' Christ on the Mount
of Olives,' a portrait of Gensler, ' Das Wieder-
sehen,' ' Vorstellung des Neuen Schulmeisters,'
' Ausgang aus der Kirche,' &c. He died in 1902.

SCHUBART, Christopher, a German painter of
the 17th century, a native of Ingolstadt. He prac-
tised principally at Municli, but is said to have
painted a portrait of Queen Anne of England.

SCHUBART, Pieter, (Schubert,) was a native
of Germany, but resided at Venice about the year
1696. Professor Christ ascribes to him the engrav-
ings marked with the letters P. S. d. E., which he
interprets, " Peter Schubert de Ehrenberg."

SCHUBERT, Franz Adgdst, German painter
and etcher ; born at Dessau, November 10, 1806 ;
became a pupil of Becks, and also studied at the
Dresden Academy and at Munich under Cornelius
and Schnorr. After residence at Florence, Rome,
Naples, and Venice, where he worked assiduously,
he returned, at the invitation of Cornelius, to Berlin.
In 1860 he was appointed professor at Anhalt-
Dessau. Hia works include ' Macht der Musik,'
' Grablegung,' ' Urtheil Salomonis,' and many sub-
jects of a Biblical character. Twenty-five of his
etchings were from Santi's Psyche frescoes in the
Farnesina. He died at Dessau in 1893.

SCHUBERT, Johann David, painter and en-
graver, born at Dresden in 1761, studied there
under Hutin and Klass, and became in 1781
painter at the porcelain works at Meissen. In
1800 he became professor of historical painting,
and alternate Director of the Dresden Academy.
He executed many etchings for books. He died
at Dresden in 1822.

SCHUBLER, A. Q. J., a German engraver, who
resided at Niiremberg about the year 1626. He
was chiefly employed in engraving portraits fur the
booksellers, which are very indifferently executed.
He engraved part of the plates for a work entitled
' Icones Bihliopolarum et Typograpliorum,' pub-
lished at Aldorfand Niiremberg in 1026.

SCHULEIN, or SCHUCHLIN, Hans, painter of
the Bcliool of Ulm, born about 1440, died at Ulm,

PAINTERS AND ENGRAVERS.

1505. The close connection between the Hof
altar-piece (see under Wolgemut) and Schtilein's
picture at Tiefenbronii, together with documentary
proof of the painter's connection with Niireraberg.
renders it probable that he was, like Wolgemut,
a pupil of Hans Pleydenwurif in that city. Less
dramatic and powerful than the painters of
Niiremberg, he was endowed with a higher sense
of beauty than they. His works are very careful
in execution, and are remarkable for the depth and
earnestness of the feeling, and show considerable
knowledge of form. His colour scheme is widely
removed from that of the Niiremberg masters, and
is more closely related to the early school of
Swabia of the first half of the 15th century. By
1469 Scliiilein must already have been a painter
of repute, for he was chosen by the Gemmingen
family to paint the altar-piece for tlie church at
Tiefenbronn, the burying-place of their family.
Later on, in conjunction with his son-in-law Zeit-
blom, he produced an altar-piece for the church of
MiinsLer near Augsburg, and another for the church
of St. Maurice at Lorch. He was head of the
Painters' Guild at Ulm in 1493, and between 1497
and 1502 was connected with the building com-
mittee of tlie Cathedral.
His principal works are :

Buda-Pesth. Gallery. The Death of the MadoDua
(signed ; much repainted.
Formerly in the church at
Miinster near Augsburg).

Tiefenbronn. Parish \ History of Christ and the Ma-
Church. j donna (dated 1409).

The following are ascribed to him :

Bamberg. Gallery, The Entombment.

Dunkeisbiihl. Church ) -r-u n ■« ■ n. c •, «»«,
of St. George, j ^'"= Crucifixion (before 1469).

Scliloss lleffersdorf. The Lament over the Dead

Silesia. Body of Christ (of 1483).

Other works at Augsburg, Niiremberg, Stuttgai I.
&c. C.J. Ff.

SCHULER, Ch.\rles Lodis, engraver, bom at
Strasburg in 1784-5, studied in Paris, and worked
first at Strasburg, engraving small plates for
almanacks, and other fugitive publications. He
afterwards settled at Carlsruhe, where he executed
a number of more ambitious plates, such as ' The
Assumption of the Virj; in,' after Guido ; a 'Holy
Family,' after Raphael. His son and pupil, EDOUAiiD,
also practised as an engraver at Strasburg.

SCHULER, Theopuil, bom at Strasburg in 1821,
studied in Paris and ilunich. He was a pupil of
Drollingand Paul Delaroche, In 1848 he executed
the illustrations for Arnold's 'Whit Monday,' and
at the same time painted for the Museum at Colmar
his great allegory 'The Chariot of Death.' Ho
made many pencil drawings for the illustrated
magazines, and for the works Of Jules Verne,
Victor Hugo, and ' Erckmann-Chatrian.' He died
in 1878.

SCHULTEN, Arnold, a landscape painter of
the Diisseldorf school, born in 1809, entered the
Diibseldoif Academy in 1822, and in 1849 estab-
lished his own atelier. His earlier landscapes are
of German scenery, but his later ones of Switzer-
land, Bavaria, and Italy. He died in 1874.

SCHULTHESS, Karl, painter, was born at
Neuchatel in 1775. He taught himself drawing,
and then gave lessons Ln his native place. After
practising there for a time, he worked for some
years in Dresden and Paris. Ho finally settled in

E 2

Neuchatel, and taught drawing at the municipal
school.

SCHDLTZ, Daniel (ScHiJLTz), painter and
etcher, born at Dantzic about 1620, studied in Paris
and Breslau, and painted many portraits. Three
etchings of animals are assigned to Schultz. He
died in 1686.

SCHULTZ, JoHANN Karl, architectural and
landscape painter, born at Dantzic in 1801, received
his first instruction from Breysig in the Academy
of that city. In 1820 he went to Berlin, where he
studied under Hummel, and in 1823 to Munich,
where from a personal acquaintance with Quaglio
he learned much, and where he also painted his
first pictures, the Cathedrals of Meissen and Ratis-
bon. In 1824 he went to Italy, and his ' Interior
of Milan Cathedral ' made his reputation. In 1832
he was appointed Professor of Drawing and Director
to the Art School at Dantzic. He etched several
plates. He died at Dantzic in 1873.

SCHULTZE, Franziska, a flower painter, borr.
at Weimar in 1805. She modelled herself or.
Huysum, Segliers, Mignon, and De Heeui. She
died at Weimar in 1864.

SCHULZ, Karl Friedrich, genre and landscape
painter, born at Selchow in 1796, was the son of a
baker. He served in the campaigns of 1814 and
1815, and then appliedhimself toart at the Academy
of Berlin. In 1821 he travelled through Holland,
France, and England, and copied some of Van
Eyck's works for the Berlin Museum. For a short
time he was a teacher at the Berlin Academy.
His ' Cuxhaven,' ' Storm at Calais,' and ' Poachers,
are in the Berlin National Gallery. He was called
'Jagd Schulz,' from his hunting pictures. He
died in 1866.

SCHULZ, Leopold, painter, born at Vienna in
1804, studied in Vienna, Munich, and Rome where
he painted a portrait of Gregory XVI. On his
return he painted scenes from Homer and Theo-
critus in the new palace at Munich. In 1837 he
painted the Martyrdom of St. Florian for the church
of that saint. He died in Heiligenstadt, near
Vienna, in 1873.

SCHDLZ-BRIESEN, Edcard, German painter,
born May 11, 1831, at Haus Amstel, near Neuss;
studied art under Hildebrand, Sohn, Schadow, and
Vautier ; and at Antwerp became u pupil of
Dykmanns and Wappers; he subsequently travelled
in France, Switzerland, and Italy. Among his
pictures we may mention ' Verhaftung,' ' Scene im
Gerichtshof,' ' In Gedanken,' ' Gottesdienst auf
dcm Lande,' &c. He is also known as a portraitist
and an engraver ; obtained gold medals in London
and Brussels, and an honourable mention at Berlin.
He died at Diisseldorf, February 21, 1891.

SCHULZE, Christian Gotti'ried, was born at
Dresden in 1749, and learned the rudiments of de-
sign from Charies Hutin. After being taught en-
graving by Giuseppe Camerata, he went to Paris,
where he profited by the lessons of J. G. Wille,
and other eminent engravers. On his return to
Saxony he engi-aved several portraits and other
subjects, particularly some of the plates in the
' Dresden Gallerv.' He died in 1819.

SCHUMACHER, Karl Georg Christian,
painter, born at Doberan in 1797. After receiving
some slight instruction from Suhrlandt, he studied
at Dresden and in Italy. On his return to Ger-
many he painted at Schwerin some frescoes in the
Government House, which were afterwards de-
stroyed by fire. He was appointed court-painter

£1

A BIOGRAPHICAL DICTIONARY OF

at Schwerin, but was obliged to relinquisb his
profession in 1863, wlien he became totally blind.
He etched six plates, and executed three lithographs.
SCHUMANN, JoHANN Gottlob, was born at
Dresden in 1761. He engraved several landscapes
in a neat, spirited style. He resided some time in
Loudon, where he worked in conjunction with W.
Byrne. The following are his chief plates :

A Landscape ; after Rin/sdael.

A View in Saxony ; after Klengel.

Two Landscapes with animals ; after the same.

A Landscape, Morning ; after Both ; engraved conjointly

with TF. Byrne.
A View of Windsor Castle ; after Hodyes ; the same.
Scene from Oberon j after Koch.

He died at Dresden in 1810.

SCHUMANN, Karl Franz Jakof, painter, bom
at Berlin in 1767, studied first under Frisch, but
afterwards travelled in Italy. In 1801 he was
appointed Professor of Anatomy to the Berlin
Academy. He died in 1827.

SCHUMER, JoHANN, a German engraver, prac-
tising at Prague in the 18th century. He is known
only by five plates of animals.

SCHUMWAT, Henry C, an American minia-
ture painter, born at Middletown, Connecticut, in
1807. He was educated in the American Academy
of Fine Arts, and was an Academician of the
National Academy of Design. He commenced
miniature j'ainting in 1829 in New York, and in
that city spent most of his life. After a few
years he relinquished painting on ivory for por-
trait painting in oil, and executed portraits of the
most notable residents of New York, Washington,
and St. Paul's. His best-known picture is perliaps
his portrait of Henry Clay, which he painted at
Washington in 1S38. He died in New York in
1884. He painted a few landscapes, but will be
remembered by his oil portraits rather than by
any other work.

SCHUPPEN, H. VAN. This name (or its mono-
gram, H. V. S., the H and V joined, the S on the
bar of H) appears on landscapes engraved after
Giovanni Maggi.

SCHUPPEN, Jakob van, (Scoppen,) born in
Paris in 1070, son of Pieter van Schuppen, studied
under Largilliere, whose style he adopted. His
productions as a portrait and historical painter
gained him a reputation at Vienna, where he became
Court painter, and Director of the Academy which
he had helped to found. There are portraits by
him in the Belvedere at Vienna, the Museum at
Amsterdam, and the Lieclitenstein Gallery. He
died at Vienna in 1751.

SCHUPPEN, Pieter van, a Flemish designer
and engraver, was born at Antwerp in 1G23. After
working for a time in his native city, ho went to
Paris, where he became a pupil of Nanteuil, and
hence was generally known as ' le petit Nanteuil.'
His design is correct, and he handled the burin
with firmness and dexterity. He engraved por-
traits, some from his own designs, and historical
subjects after various masters. He died in Paris
in 1702. Nagler gives a list of 119 plates by him ;
the following are among the best :

Louis XIV. ; after C. Le Brun. 1662.
The Cardinal d'Este. 1662.
The Carihnal de Mazarin ; after M'lgnari.
The Ch.iucellor Siguier ; after C. Le Bniii.
Fr.inijois Villani, Bishop of Tournay ; after L. Francois.
Fram;ois M. le Tellier, Marquis de Louvois ; after Le
Fibre.

Louis le Pelletier, President of the ParUament ; after

de Largilliere.
Frans Vander Meulen, Painter ; after the same.
The ' Madonna della Sedia ' ; after Maphaet. 16S1.
The Holy Family, with St. John, wlio holds a pigeon;

after Seh. Bourdon.
The Holy Family ; after Gaspar de Crayer.
St. Sebastian, with an angel drawing out the arrow;

after Vandyck.
King David ; after Ph. de Champagne.

Some of his portraits appeared in Perrault's
' Hommes Illustres.'

_ SCHURAWLBW, Thyrsus Serqewitsch, Rus-
sian painter ; born at Saratow in 1836 ; studied at
the St. Petersburg Academy. His best-known
pictures are 'Blessing the Bride,' 'The Unfaithful
Peasant,' and ' Home from the Ball.' He died at
St. Petersburg, Sejitember 1901.

SCHURIG, Karl Wilhelm, bom at Leipsic in
1818, studied there, and in Dresden under Bende-
mann, after which he spent some time in Italy,
and then returned to Dresden, where in 1857 he
was elected Professor to the Academy. His prin-
cipal pictures are : a ' Resurrection,' in the church
at Eppendorf ; 'Siegfried and Chrimhild'; 'The
Emperor Albrecht and the Swiss Envoys ' ; and, in
the Gallery at Dresden, ' The Bishop of Spires taking
Persecuted Jews under his Protection.' His draw-
ings from the old masters were much esteemed,
among them are :

Madonna di San Sisto ; after Raphael.
Heads from the St. Cecilia ; after the same.
Madonna with Child ; after Cori'eggio,
'■ La Notte ' ; after the same.

He died at Dresden in 1874.

SCHURTZ, Cornelius Nicholas, an indifferent
German engraver, who resided at Nuremberg about
the year 1670. He was living in 1689. He en-
graved portraits of celebrated physicians, and small
emblematical subjects ; his prints are marked with
his name at full length, or with the letters C. N. S.,
sometimes in a monogram.

SCHURMANN, Anna Maeia, born at Cologne
in 1607, from her cradle displayed extraordinary
talents. She is said to have been able to read
when she was only three years old, and at seven
had made great proficiency in Latin, which she
had acquired from occasionally overhearing her
brothers' lessons with their tutor. Her father pro-
cured her the means of acquiring a fuller know-
ledge of Latin, Greek, and Hebrew, which became
BO familiar to her, that she not only wrote but spoke
them with fluency and correctness, and mastered
a great variety of accomplishments besides. But
her inclusion here is justified by her powers as an
artist. She painted her own portrait, and those of
several of her friends, and sculptured several busts,
some of which have been preserved. She etched
and engraved sume plates, among which is a portrait
of herself, signed Anna 3faria Schurmans an.
aetat. xxxiii. cij.iacxL. a. m. s. fee-, and inscribed
with these verses :

Cernitis hie picta nostras in imagine vultus :
Si negat Ars formam, gratia vestra dabit.

At a somewhat advanced age she embraced the
opinions of Labbada, and followed him to Altona,
but after his death she returned to Holland, and
settled at Wiewert, near Leeuwarden, where she
died in 1678. There is a portrait of her, by
Lievens. in the National Gallery.

SCHUSCHARDT, Christian, a German painter,

PAINTERS AND ENGRAVERS.

■was for a time Director of the Free School of
Design at Weimar, where he died in 1870.

SCHUSTKR, JoHANN Martin, born at Nurem-
berg about 1667, was Director of the Nuremberg
Academy, where he died in 1738.

SCHUT, CoRNELis, was born at Antwerp in 1597,
and was a disciple, at least, of Rubens, although
it is not certain what the exact relation between
them was. lie painted much in the Antwerp
churches. Of his altar-pieces, the best are his
' Nativity ' and ' Assumption of the Virgin ' in the
church of tlie Jesuits ; a ' Dead Christ, with the
Virgin and St. John,' in St. Jacques, which has
sometimes been mistaken for a work of Vandyck ;
the ' Martyrdom of St. George,' in the cathedra],
and the ' Martyrdom of St. James,' in the Museum
at Brussels. He also. painted subjects from history
and classic fable. He is said to have visited his
brother, Pieter Schut, at Madrid, and to have
painted a picture on the staircase of the imperial
college, representing St. Francis Xavier baptizing
the Indians. Schut frequently painted figures
within the garlands of Seghers ; he also etched a
considerable number of plates from his own designs.
Schut died at Antwerp in 1655. Vandyck painted
his portrait among the eminent artists of his country.

SCHUT, COENELIS, the younger, the son of Peter
Schut, an engineer in the Spanish service, was born
at Antwerp, and was partly instructed by his uncle,
Cornells Schut, the elder ; he afterwards went with
his father to Spain and practised at Seville. He
was one of the founders of the Academy in that
city, and contributed liberally to its support. Of
his ability and character Bermudez speaks in eulo-
gistic terms. Some of his pictures are to be found
at Seville, and it is said that his drawings resemble
those of Murillo, and frequently pass for such. He
died at Seville in 1676.

SCHUTt^R. This man engraved, about the year
1760, a portrait of Rembrandt, then in the collec-
tion of the Marquis Gerini, now no. 60 in the Pitti
Gallery.

SCHUTER, Dan. See Saiter.

SCHUTZ, Johann Georg, painter, bom at Frank-
fort in 1755, son and pupil of Christian Georg
Schiitz I. He went in 1776 to the Academy at
Dvisseldorf, and afterwards to Rome. On his re-
turn he painted historical and genre pictures and
landscapes. He died in 1813.

SCHUTZ, (or Schyz,) Karl, bom at Vienna in
1746, was an architect, but also practised drawing
and engra%-ing. In conjunction with Ziegler and
Jantscha he engraved a series of views of Vienna,
and, by himself, various landscapes and military
scenes. .. He died in 1800.

SCHUTZ, Hermann, a German engraver and
pupil of Amsler. His most important work was
a well-executed series of sketches after Genelli.
He died at Munich in 1869.

SCHUTZ, Christian Georg (I), painter, born at
Flbrsheim, nearMayence, in 1718, went to Frankfort
in 1731 to study under Hugo Schlegel, and also
worked under Appiani. Most of his pictures are
landscapes, of which the figures and animals were
painted in by W. F. Hirt, and afterwards by Pforr.
He died at Frankfurt in 1791.

SCHUTZ, Christian Georg (II), nephew and
pupil of Christian Georg I., was born at Flbrsheim
1758, copied first the works of his uncle, but after-
wards devoted himself to painting Rhine scenery
in water-colours. About 1789 he became curator
of the Frankfort Museum, in which capacity he

fraudulently sold some pictures ascribed to Holbein,
which the city had afterwards to re-purchase. He
died in .1823.

SCHUTZ, Franz, painter, born at Frankfort in
1?51, son and pupil of Christian Georg I. He
painted views in Switzerland. A journey to Milan
exercised a very good influence over his work. He
was a lover of wine, music, and practical jokes, and
died at Sacconay ia 1781.

SCHUTZENBERGER, Ludwiq Friedrich,
French painter; born September 8, 1825, at
Strassburg ; became a pupil of Gloyre, and studied
in Paris at the Bcole des Beaux Arts. His
' Terpsichore ' is in the Luxembourg, as also his
' Centaures ' ; other works by him of note are
' Europa,' 'Ariadne,' 'Souvenir d'Alsace,' 'La
Femme de Potiphar,' ' Une Source,' and 'Jeanne
d'Arc' He obtained a third-class medal in 1851,
a second-class ditto in 1861, and a rappel in 1863,
receiving the Legion d'Honneur in 1870. " He
died in Paris, in April 1903.

SCHUYLENBURGH, Hembryck van, a Dutch
painter, practising about 16-17 at Middleburg.

SCHWABEDA, Johann Michael, a painter of
landscapes, fruit, and flowers, was born at Erfurt
in 1734. He began life as a modeller in wax, but
abandoned this for painting. In 1760 he was ap-
pointed Court painter at Anspach, where he died in
1794.

SCHWACH, Heixriph AronsT, German painter;
bom September 19, 1829, at Neutitschien, Moravia ;
studied at the Vienna Academy under Waldmiiller
and Rahl ; completed his art studies by travel in
Belgium, where, at Antwerp, he worked with
Dykman ; painted historical subjects, battle-pieces,
and portraits, though in Austria his work as the
restorer of old pictures will best be remembered.
He died in 1903.

SCHWALBE, Orest. See Kiprensky.

SCHWANFELDER, Charles Henry, animal
painter, born at Leeds in 1773, where he chiefly
practised. He painted animals, landscapes, and
occaBionally portraits. He was appointed animal
painter to George III., and afterwards to the
Prince Regent. He died in 1837.

SCHWARTZ, a German engraver, who resided
at Nuremberg about the year 1626. He engraved
portraits and a series of plates for 'Icones Bibliopo-'
larum et Typographorum,' published at Nuremberg
in the year above mentioned.

SCHWARTZ, Jan. See Swart.

SCHWARTZ, G., a military painter, practising
at Petersburg, was born at Berlin in 1800, but
entered the service of the Russian court and settled
in Russia in 1830. Several of his battle-pieces are
in the old royal Schloss at Beriin.

SCHWARTZ, Michael, painter, an imitator of
Diirer, who flourished at the beginning of the 16th
century, and in 1512 executed an altar-piece for St.
Mary's Church at Dantzic, with scenes from the
life of the Virgin and the Passion of Christ.

SCHWARTZENBERG, Melchior, was an en-
graver on wood, who cut some frontispieces for
Feyeraband the bookseller. He worked from
about 1530 to about 1550.

SCHWARZ, Christoph, was born at Ingolstadt
in 1550, and became the pupil of Bocksperger, in
Munich. He afterwards entered the school of
Titian, and after passing some years at Venice he
returned to Munich, where he was appiiinted painter
to the court, and where he resided fcrthe remainder
of his life. He painted many pictuies for the public

A BIOGRAPHICAL DICTIONARY OF

buildings of JIunich, and for the Elector. Several
of these liave been engraved by Jan Sadeler.
Schwartz died at Munich about 1597. His works
can be studied in Brunswick and Munich.

SCHWAKZ, Hans, liistoncal and portrait
painter of the IGth century, was born at Gettingen,
in Suabia. In 1520 he was at Antwerp, and later
made the acquaintance of Diirer, whose portrait
he painted at the bouse of the Fiisgers. In 1540
he married the widow of Hans Leonhard Schaufelin.
SCHWARZ, Martin, living in the last part
of the 15tb century, was a native of Rotlienburg.
His pictures are sometimes attributed to Martin
Schongauer. His principal works are: a 'Christ
on the Cross ' in tlie cliurcli of Scliwabach, near
Nuremberg ; an altar-picture for tlie Dominican
church at Rotlienburg, where he lived as a
lay member, comprising 'The Angelic Salutation,'
' The Offering of the Three Kings,' ' The Death of
Mary,' 'The Burial of Christ,' and ' The Virgin and
Child.' These .ire now dispersed.

SCHWARZ, Padl Wolfgang, an engraver, born
at Nuremberg in 1760, studied at Basle under
Mechel, and became in 1789 court engraver to the
Duke of Sachsen-Coburg-Saalfeld. He died in
1815.

SCHWARZENBURG, Princess Pauline von,
bom September 2, 1774, etched sixteen views of
her estates in Bohemia, published in 1814 and 1815,
and other plates.

SCHWAZ, Hans von, a Tyrolese portrait paint r
of the 16tb century, whose works have been
ascribed to Holbein, Amberger, Schiiufelein, Strigel
and others. Nothing is known of his history, but
according to certain documentary notices he was
in the service of the Emperor Maximilian as his
portrait painter in 1500 and 1510, and he appears
also to liave been the favourite painter of the
Emperor's grandson, the Archduke Ferdinand,
when he w-as in the Tyrol, and of the powerful
Augsburg family of the Fuggers. A member of
this family lived at Schwaz, near Innsbruck, where
his tomb may still be seen, and was the patron
of Hans the painter. In all records at present
known relating to this artist he is always called
" Maler zu Schwaz," but his surname is unknown.
Judging from his works it is to be assumed that
he was taught either at Dim or Memmingen, and
was connected with Strigel or Zeitblom. His
principal works, according to Herr Friedlander,
who has made a special study of this painter, are
the following :

Augsburg. Coll. ofi

Prince Fuggtr Bahen- vPortrait of ULrich Fugger, 1525.
haiistn.J
Dresden. Galleri/. Portrait of an unknown man,

dated 1519.
„ „ Portrait of Joachim Kehle,

1524.
Florence. Uffizi. Portrait of the Archduke

Ferdinand, brother of Charles
v., of 1524 or 1525. Auotlier
portrait of the same at Rovi^'O
is probably by this painter,
though both these works an-
ascribed to Strigel by some
critics.
London. Bridgewater ) Portrait of a man with the
House, j monogram n. m. and below
JI. z. s., 1523, which is inter-
preted as'* Maler zti Schwaz."
Formerly as '* Melancthon by
Holbein."
54

Piula. Private Coll. Portrait of Matthaiis Schwarz,
grandson of Ulrich Schwarz,
Burgomaster of Augsburg
and agent of the Fuggers at
Schwaz. Painted at Schwaz
in 1526.

Rome. MuscoNazionale. Portrait of Wolfgang Tauvelder,
1524. Formei-ly ascribed to
Holbein.

Rovereto. Portrait of a man.

Vienna. Portrait of Moritz Weltzr of

Eberstein, 1524.

Worlitz. GoMisrffs ^Portrait of the King of Hun-
Haus. j gary aud Bohemia, 1521.
„ Portrait of Anua, liis wif*?
Both iiKcribed to Biuckmaic

Other works at Berlin (private coll.), Darmstadt,
Mannheim, Weimar and elsewhere. C.J. Ff.

SCHWED, R., a painter who flourished in the
16th century at B.amberg, and with Georg Gl.aser
executed a series of wall paintings in the Carmelite
cloister,Frankfort. Copies are intheSliidel Museum.

SCHWEGMAN, Hendrik, a flower painter and
engraver, was born at Haarlem in 1761, and studied
under P. van Loo. He engr.aved and coloured the
prints for a work entitled ' Icones Plantarum rari-
orum' ; he also etched several landscapes after E.
van Drielst and others, in the manner of Anthonie
Waterloo. He died at Haarlem in 181C.

SCHWEICH, Carl, Germ.an painter; born
December 6, 1823, at Diisseldorf; studied at
Darmstadt with Lucas and Seeger ; also at Munich
under Rottmann, and at Antwerp with Dyckmans
and Wappers. He settled at Diisseldorf as a
painter of Bavarian landscapes, though in some
portraits he showed notable capacity. The Darm-
stadt Gallery possesses his ' Herhstmorgen.' He
died at Diisseldorf, April 23, 1898.

SCHWEICKAKT, JoHANN Adam, engraver, born
at Nuremberg in 1722, studied under Preissler, and
in Italy. He lived eighteen ye.ars in Florence,
where he engraved several of the gems in the
collection published by Stosch. On his return to
Germany he produced many plates after the old
masters, and won some reputation by his engravings
from washed drawings. He died in 1787.

SCHWEICKHARDT, Heinrich Wilhelm,
painter, v.-as born at Brandenburg in 1746. He
studied under Girolamo Lapis, and settling in the
Hague, became Director of the Academj'. In 1786,
in consequence of the disturbances in Holland, he
came to England, and resided in London for several
years. He painted landscapes and cattle, ] ar-
ticularlj' frost-pieces, and etched a set of plates of
nnim.als, which he dedicated to Jlr. West in 1788.
He died in London in 1797.

He has four distinct methods of signing his
name, tlius :

Ji^: St h^*zUA^?J JfS\): /c/^c<.c/ASi)/
/ys% ' ^ '/Si

SCHWElZi:R, JoHANN, was a native of Heidel-
berg, and flourished about the year 16C0. He
worked for the booksellers. He engraved the
frontispiece and plates for ' Parnas,sus Heidelber-
j;ensis, omnium illustrissimae hujus academias pro-
fessorum icones exhihens,' some of which are from
his own drawings. Schweizer died in 1679.

PAINTERS AND ENGRAVERS.

SCHWENDY, Albeht, German painter ; bom
October 20, 1820, at Berlin, where he studied
under Biermann, besides becoming a pupil ol'
Neclser at Munich, and of E. Lepoittevin in Paris.
From 1848 to 1855 he resided at Berlin, and after
some years spent at Munich he accepted the post
of Professor at Dessau. He mainly chose archi-
toctural subjects, views of market-places, and the
exteriors and interiors of cathedrals. lie died in
1003.

SCHWERDGEBURTH, Amalie Charlotte,
sister of Karl Schwerdgeburth the engraver, was
born at Dresden in 1795, and went early with her
father to Dessau, where and at Weimar she received
her training in art. In 1822 she returned to Dres-
den, and made a name by her copies. She died at
Dresden in 1831.

SCHWERDGEBURTH, Karl August, en-
graver, was born at Gera in 1785, and became a
pupil of the Dresden Academy. He engraved a
few portraits, among them those of the Grand
Duchess llaria Paulowna, the Grand Duke of
Weimar, and Goethe. He also painted a ' Luther
at the Diet of Wonns.' He died at Dresden in 1878.
SCHWERDGEBURTH, Otto, son of Karl
Schwerdgeburth, born at Weimar in 1835 (1837),
studied first under his father, and then under
Preller. In 1856 he went to Antwerp, where he
painted in the Town-hall and the church of St.
Nicolas. In 1860 he returned to Weimar, where
he died in 1866.

SCHWIND, lIoRnz Ludwig, Ritter von, his-
torical painter, born at Vienna in 180-t, attended the
Viennese Academy up to 1819, and worked under
Ludwig Schnorr. In 1828 he went to Munich, where
he painted twenty-nine frescoes from Tieck's poems,
in the palace. From 1840-41 he lived in Carlsruhe,
and painted a wall picture in the Gallery. Between
1853- 55 he painted at the Wartburg a series of
pictures from the life of St. Elizabeth. In 1859
he designed thirty-four windows for Glasgow
Cathedral. Other works by him are an altar-piece
for the Frauenkirche, Munich, frescoes for the
Pfarrkirche, Munich, the Loggia decoration, the
Viennese Opera House, ' The Symphony,' a quad-
ruple picture in the Munich New Pinakothck.
Schwind died at Munich in 1871.

SCHWITER, LuDwiQ August Baron von,
German painter; born in 1809, at Menburg (Han-
over) ; studied in Paris, which eventually became
his home, and where for over forty years he
worked. He was well known at one time as a
successful portrait-painter, and he also worked at
landscapes and genre ; obtained a third-class medal
in 1845. He died in Paris in September 1865.

SCHWOISER, Eduard, German painter; born
March 18, 1827, at Briisan, Moravia ; began life as
an artisan, but studied at the Munich Academy ;
completed his art education by study in England,
France, Italy, the Netherlands, and Spain ; accepted
a professorship at Munich, where he resided
permanently. His best-known works include :
'Turnier auf dem Marienplatz,' 'Kaiser Heinrich
IV. at Canossa,' ' Geburt der Aurora,' 'Gotter-
morgen,' &c. Ho also executed several important
frescoes. He was the recipient of several Orders
and decorations. He died in September 1902.

SCHYND.\L, (or Schendel,) Bernard, bom
at Haerlem in 1634, was a scholar of Hendrik
Mommers. He painted assemblies of peasants
merry-making, in the style of J. M. Molenaer. He
treated those subjects with considerable humour,

and his pictures are ingeniously composed. He
died in 1693.

SCHYNVOET, Jakob, a Dutch engraver, who
resided in London about the year 1700. He en-
graved some bird's-eye views of country houses,
from his own designs, in a style resembling that
of John Kip. He is supposed to have worked as
late as 1727.

SCIACCA, TojiMASO, a Sicilian artist, a native of
Mazzara, born about 1734. He worked at Rome
with the Cavaliicci, and painted some large
compositions for clmrches at Rovigo.

SCIAMERONI, Lo. See Fueini, Francesco,

SCIAMINOSSI, Raphael. See Scaminossi.

SCIARPELLONI, Lorenzo. See Credi di.

SCILLA, (or Silla,) Agostino, born at Messina
in 1639, was a scholar of Antonio Ricci, called II
Barbalunga. Such was the promise he evinced,
tliat Barbalunga prevailed on the senate to settle a
pension on him, to enable him to pursue his studies
at Rome, where he frequented the school of Andrea
Sacchi. After a residence of four years at Rome,
he returned to Messina, and established an academy,
which was much frequented until the political
troubles of 1674 obliged him to fiy to Rome. He
excelled in painting the he.ids of old men ; while
the landscapes and animals in his pictures are very
true to nature. He died at Rome in 1700. In
some of his works he was assisted by his brother
Giacinto, a good artist, who lived till about 1711.
Agostino had a son, Saverio, who was also a
painter.

SCIPIONE DI GAETA. See Pulzone.

SCIORINI, (or Della Sciorina,) Lorenzo, an
Italian painter of the 16th century, a native of
Florence, was a pupil of Bronzino. He was one
of the artists employed to, decorate Michelangelo's
catafalque.

SCITIVAUX i>e GREYSCHE, Roger de, born
at Nancy in 1830, was a pupil of Couture. Be-
tween 1857 and 1865 be exhibited portraits and
genre pictures at the Salon. He died in 1870 in
Paris.

SCOENERE, Jan, (or de Scosnere,) a Flemish
painter of the 15th century, who had an atelier for
pupils at Ghent. He is thought to have been a
j.upil of the Van Eycks. In 1413 he painted an
altar-piece in collaboratii-in with Baldwin van
Wytevelde.

SCOLARI, Giuseppe, was a native of Vicenza,
and flourished about the year 1580. He was a
disciple of Giovanni Battista Maganza. He painted
history both in oil and in fresco ; and there are
many of his works in the churches of Vicenza,
Verona, and Venice. According to Papillon, he
executed several wood-cuts, among them the
following :

The EDtombment.

The Dead Christ, with the Virgin Mary.

St. Jerome holding a Crucifix.

The Rape of Proserpine.

SCOLES, Joseph John. This clever draughts-
man was born in 1798, and wr.s from his earliest
days much interested in mediajval ecclesiastical
architecture. He was a Catholic, and came under
the influence of Dr. John Milner, who was struck
by the beauty of many of his drawings of ancient
vestments. The bishop recommended Mr. Joseph
Ireland, a distant cousin, to take him into his
ofBce, and he also interested Dr. John Lee in the
young man, and did his best to push him forward.

A BIOGRAPHICAL DICTIONARY OF

At Hartwell House, Scoles met Joseph Bononii,
who was so attracted by him that he begged for
his company in an arohjeological trip he was
taking to Greece and Syria. Wliile there he made
many excellent drawings, especially of Jerusalem
and of buildings at Athens. After his return home
in 1826 he coumienced work as an architect, and
Gloucester Terrace, Regent's Park, owes very
much of its dignity to liis work rather than to
John Nash, who prepared the first sketch for the
houses. He was greatly in demand amongst his
co-religionists for architectural work, and the great
church at Farm Street and the Oratory at Brompton
are monuments of his skill. He also designed
many other similar churches and some private
and college chapels. He wrote several essays on
Egypt and the Holy Land, and contributed several
architectural articles to various societies to which
he belonged, in some cases illustrating them by
his own pencil. He died in 1803, and a full list
of his architectural works appears in the
' Dictionary of National Biography.'

SCOPPA, Orazio, an Italian engraver, who
flourished at Naples about the year 1642, and was
probably a goldsmith. He engraved a set of fifteen
designs for chalices, crosiers, and other ecclesi-
astical ornaments.

SCOPULA, Giovanni Maria, an Italian painter
of the 13th century, a native of Irunto. His only
recorded work is a triptych in the Campana Col-
lection, in the Louvre, the three subjects being,
' The Annunciation,' ' The Visitation,' and ' The Na-
tivity.' It bears the following inscription : Joanes
Maria Scopula de Irunto pi7ixit m Oiranto.

SCORE, \V., portrait painter, a native of Devon-
shire, pupil and drapery painter to Sir Joshua
Reynolds, who exhibited portraits at the Academy
from 1781 to 1794.

SCOREL, John van, painter, was born at Scorel,
a small town near Alkmaar, August 1, 1495. At
the age of fourteen he was placed for three years
under the tuition of an obscure artist, named
Cornelius Willems, in Haarlem. In 1512 he went
to Amsterdam, where he became a disciple of James
Cornelisz. The reputation of John Gossart, who
was at that time in the service of Philip of Bur-
gundy, induced Scorel to visit Utrecht. He after-
wards went to Cologne and thence to Spires, where
he passed some time studying architecture and
perspective, then he visited Strassburg, Basel, and
Nuremberg, where he resided with Albert Dtirer,
who treated him with great kindness. Then he
travelled to Styria and Carinthia, making a long
stay atOber-vellacli, in 1520. His next journey was
to Venice, where he found a number of people
assembled for a pilgrimage to Palestine, among
them an ecclesiastic of Gouda, by whom he was
persuaded to join the party. On his arrival at
Jerusalem he became acquainted with the superior
of the monastery of Sion, by whom he was shown
the most interesting sites in the city and vicinity,
of which he made accurate drawings. He painted
for the convent a picture representing the ' In-
credulity of St. Thomas ' ; on his way back he
visited the Isle of Rhodes, where he was received
with distinction by the grand master, who was a
native of Germany, and painted views of the city
and fortress. From thence he sailed for Venice,
and afterwards visited Rome, where he was em-
ployed by Pope Adrian VI., who was a native of
Utrecht. He painted a whole-length portrait of
the Pope ; this was sent to the college of Louvain,
56

which bad been founded by his Holiness. After
his death, September 14, 1523, Scorel returned to
Utrecht, and lived with Hennan van Lochorst,
dean of the old Minster, for whom he painted one
of his best pictures, ' Christ's Entry into Jerusalem,'
which was placed in a chapel of the cathedral.
During the war with Guelders he was at Haarlem,
where he painted for the monastery of St. John a
' Baptism of Christ,' in which he imitated Raphael.
Many of the principal works of Scorel were
destroyed during the troubles in the Low Countries.
In 1524 he was ordained, and was at first vicar of
St. John's, 1525, and canon of St. Mary's in 1528.
He died at Utrecht, December 6, 1562. The 'Death
of the Virgin ' at Munich, is thought by many
critics to be an early work of Scorel's.

AmsterJam. iJ.J)/«.«eMm. A Magdalen.

Dresden. Gallery. David conquering Goliath

(given in catalogue to Bron-
zino).

Haarleni. Muscuvi. Adam and Eve.

,, „ Baptism of Christ.

Hampton Court. Our Lady and Child.

London. JVat. Gall. A Eiposo.

„ „ Portrait of a Lady.

Ober-vellach, ) Church. Triptych : The Family of St.
Carintliia. j Anue ; SS. Christopher and

ApoUonia ; signed and dated
1520.

Prague. Rudoljinum. Triptych: Adoration of the
Magi ; donor and family pro-
tected by SS. Jerome and
Lucy ; outside, St. Anne and
St. Katherine.

Rome. Pal. Doria. Portrait of Agatha van Schoen-

hoven. 1529.

Eotterdam. Museum. Portrait of a Boy.

Utrecht. Museum. A Madonna.

„ „ Four Portraits, one of himself.

Warmenhui- ~i

zen, near V Church. A Series of Pictures in tempera.

Alkmaar.

W. II. J. W.

SCORODOMOFF, Gabriel, (Scroudomoff,) a
draughtsman and engraver, was born at St. Peters-
burg about 1748, but came to England when young
and studied under Bartolozzi, whose manner he
imitated. It is said that he was the first Russian
to obtain a reputation as an engraver. He lived
in London from 1775 to 1782, and engraved
after Reynolds, West, Hamilton, and Angelica
Kauii'man, also a portrait of Mrs. De Louther-
bourg from his own design. He engraved a por-
trait of the Empress Catherine II., after F. Rocotoff,
probably after his return to St. Petersburg, where
he died in 1792.

SCORZA, SiNiBALDO, born at Voltaggio, near
Genoa, in 1589, was a scholar of Giovanni Battista
Paggi. He painted landscapes, with well-com-
posed groups of figures and animals, and copied
with the pen some of Albrecht DOrer's prints. He
died in 1631.

SCORZINI, PiETRO, an Italian painter of the
18th century, who studied at Bologna, and practised
as a scene painter at Lucca.

SCOTIN, Gerard, the elder, a French engraver,
born at Gonesse, near Paris, in 1642. He was a
pupil of Francois Poilly, the elder, whose style he
imitated. Among his prints we may name :

The Marriage of St. Catherine ; after Aless. Verotute.

The Communion of the Magdalene ; after Domenichino.

The Circumcision ; after P. Miynard.

The Baptism of Christ ; after the same.

The Presentation in the Temple ; after C. Le Brua.

The Country Life ; after Dom. Feti.

He died in 1715.

JOHN VAN SCOREL

Hanfstdngl photo] [Bulin Gullery

PORTRAIT OF CORNELIS AERNTSZ VAN DER DUSSEN

PAINTERS AND ENGRAVERS.

SCOTIN, Jean Bafiiste, said to be the son of
the elder Gerard, flourished in Paris in the first
half of the 18th century. He engraved after H.
Rigaud. Boucher, Watteau, Lancret, Pater, and
other French painters. Some of his prints are
dated as early as 1710.

SCOTIN, Louis Gerard, the younger, the nephew
of Gerard Scotin, was bom in Paris in 1690, and
taught by his uncle. He came to Loudon about
1733, to "help in the plates for a translation of
Picart's 'Religious Ceremonies.' In 17-15 he en-
graved two of the six plates of the ' Marriage a la
Mode,' for Hogarth, and several plates after Frank
Hayman. We have also by him :

The Birth of Adonis ; after Boucher.
Belisarius ; after Vandi/ck.
And a file more.

SCOTNIKOFF, Egor (Georq), an engraver, who
flourished at the end of the 18th centur}', was a
pupU and member of the St. Petersburg Academy,
where he studied under Klauber. He engraved a
' Christ on the Cross,' after Lebrun.

SCOTT, David, a Scottish historical painter, bom
at Edinburgh in 1806, son of the engraver Robert
Scott, first drew and engraved a series of designs,
after Stothard, for Thomson's ' Scottish Melodies,'
and then commenced painting. He produced in
1828, ' The Hopes of Early Genius dispelled by
Death.' He became an Associate of the Scotch
Academy in 1830. In 1832 he went to Italy, and
on return was elected a Scottish Academician. He
sent pictures to the Westminster Hall competitions
of 1842 and 1844, but without success, a failure
that c.iused him deep disappointment. He died in
1849. David Scott's imagination was active and
poetic, but scarcely of the kind that finds its right
vehicle in paint. He was a good colourist, and an
expressive rather than correct draughtsman. The
following list comprises his best works.

Ariel aad Caliban. (Scot. Xat. Gallery.)

A Tintager. (Do.)

Paracelsus lecturing.

Peter the Hermit.

Vasco de Gama meeting the Spirit of the Cape. (THnity

House, Leith.)
Orestes and the Furies.
The Dead Rising.
Achilles Mourning Patroclus.

He also published several series of designs in
outline :
'Monograms of Man.' 1S31.
' The Ancient Mariner.' 1S37.
Illustrations to the ' Architecture of the Heavens,' by

Prof. Xichols. 1S4S.
Illustrations to the ' Pilgrim's Progress,' published after
his death.

Mr. W. B. Scott published a memoir of his
brother, David Scott, in 1850.

SCOTT, Edmund, engraver, born in London about
1746, was a pupil of Bartolozzi. He engraved a
portrait of the Prince of Wales, by himself, and
several subjects after Morland, Stothard, and Ram-
berg. He died about 1810.

SCOTT, Sir G. Gilbert. This is not the place
to give a full account of the architectural work of
this eminent man, nor to refer to the various
restorations — so-called — with which he was con-
cerned. It may sufiije with regard to the latter
phase of his work to declare that the Society for
the Protection of Ancient Buildings was formed in
direct antagonism to the practice of restoration for
which Sir G. Scott was specially well known, and
this Society, frequently known as the Anti-Scrape

Societv, has from its beginning taken up a position
of distinct antagoidsm to the energetic renovation
associated with the name of Sir Gilbert Scott. For
a record of his work, the reader should be referred
to the 'Recollections' that appeared in the 'Builder'
qnd ' Building News ' for 1878, and to the excellent
memoir in the ' Dictionary of National Biography,'
but it is well that so expert a sketcher as was Scott
should have some notice in this volume. He was
bom in 1811, the son of the curate of Gawcott,
and the grandson of Scott the manufacturer. He
inherited his love of architecture from his father,
and commenced his training in the oSice of James
Edmeston, afterwards being attached to the firm
of Peto it Sons, and started on his own account in
1834. His sketch-books are full of delightful
drawings, not only of the buildings with which he
was specially concerned, but with architectural
work all over Europe, especially in Germany, and
in some cases his most elaborate drawings recall the
work of Prout for their wealth of exquisite detail.
He is said at one time for amusement's sake to
have painted a portrait. He died in his own house
in London in 1877, leaving behind him five sons,
two of whom followed in his profession.

SCOTT, John, an eminent engraver of animals,
particularly of horses and dogs, was born at New-
castle in 1774, where he served his apprenticeship
to a tallow-chandler. At the expiration of his time
he engraved a series of profile portraits for Angus's
'French Revolution,' and then came to London,
where his friend Pollard, a Newcastle man, gave
him lessons in drawing and engraving. Scott's
name is to be found in the publications of Tresham
and Ottley, in Brittou's 'Cathedral Antiquities,'
Westall's ' Illustradons of the Book of Common
Prayer,' &c. ; but it is in the 'Sportsman's Cabinet,'
•D^iniel's Rural Sports,' and a 'Series of Horses
and Dogs,' that he excels, as an engraver of
animals, all the Englishmen who had preceded
him. Some of his detached pieces are of great ex-
cellence, particularly ' Breaking Cover,' after Philip
Reinagle ; ' The Death of the Fox,' after Sawrey
Gilpin; 'Warivick,a Famous Racer,' after Abrah.am
Cooper; and a few landscapes, after Weenix,
Gainsborough, Callcott, and others. He died at
Chelsea in 1828.

SCOTT, John Henderson, water-colour painter,
the son of William Henry Scott, born February 10,
1829, practised at Brighton, where he had a great
local reputation as a teacher, and was an active
member of the Brighton Fme Arts' Society. He
wa~ an occasional exhibitor at the London Water-
Colour Galleries, and at the chief provincial exhibi-
tions, but reserved his work more especially for the
Brighton Picture Gallery. He painted views of
Sussex scenery, views in Normandy, &c. He died
at Brighton, December 6, 1886.

SCOTT, Mabia, the sister of William Henry
Scott, was a water-colour painter, who practised
at Brighton. She became a member of the Water-
Colour Society in 1823, and was an industrious
exhibitor of fruit and flower pieces, both under her
maiden name, and after her marriage in 1830, as
Mrs. Brooksbank.

SCOTT, Robert, the best Scottish engraver of
his time, was born on the 13th November, 1771, at
Lanark. He was educated there and at Mussel-
burgh, and apprenticed to Alexander Robertson,
a landscape engraver in Edinburgh, in 1787, when
he also entered the Trustees' Academy. His first
successful engravings were twelve views round

A BIOGRAPHICAL DICTIONARY OF

Edinburgh. He afterwards, for twenty years, exe-
cuted the monthly prints of new houses, country
seats, &c., for the 'Scots' Magazine,' and many
plates for Dr. Anderson's' Bee,' Barry's ' History of
Orkney,' 'Scenery of the Gentle Shepherd,' Burns,
&c. &c. He died in January, 1841. Many of his
apprentices became distinguished, among them
John Burnett, James Stewart, John Horsburgli ;
also William Douglas, miniature painter, and
Thomas Brown, the writer on Natin-al History.
Robert Scott was the father of David Scott, R.S.A.,
and Mr. W. B. Scott.

SCOTT, Samuel, an eminent English painter of
views and sea-pieces, was born early in the 18th
century, in London, and there practised from about
1725 to his death. He was the friend of Hogarth,
and formed one in the famous water-party to
Gravesend in 1732. His sea-pieces, chiefly in oil,
were very popular, and he was one of the earliest
aquarellists. In his topographical views he fre-
quently introduced groups of well-drawn figures.
His ' View of the Tower of London on the King's
Birthday ' was exhibited at the Royal Academy in
1771, and some of his works appeared at the Spring
Gardens Rooms. After a long and prosperous
career in London, he retired to Bath, where he died
of gout, in October, 1772. There is a good portrait
of him by Hudson in the National Gallery, where
there are also two of his own works : ' Old London
Bridge ' and ' Old Westminster Bridge.'

SCOTT, William Bell, was born at Edinburgh
on Sept. 12, 1811. His father was Robert Scott,
the well-known engraver, whose work, chiefly man-
sions and ruined castles, may be seen in the pages
of the 'Scots Magazine' of the time. His mother
was Ross Bell, a niece of Gowan, the sculptor.
His elder brother, David, and himself soon showed
a taste for art, delighting in the prints and illus-
trated books BO plentiful at home, and thus came
early under the influence of Loutherbourg, Fuseli,
and Corbould, and. more especially, of W. Blake,
whose designs to Blair's ' Grave ' they were never
tired of admiring. He was educated at the High
School. His poetic tastes were indulged from an
early age, and it was characteristic that the boy
naturally turned to speculative and religious
themes. From the first, then, Art and Literature
were his chosen mistresses. He met both Prof.
Wilson (Christopher North) and Sir Walter Scott,
but neither greatly encouraged his literary aspira-
tions. In the winter of 1833-34 he made his debut
at the Scottish Academy's Exhibition with a land-
scape representing a hermit at prayer in a forest, a
subject suggested by some lines by Coleridge. To
the same period belongs a set of etchings of Loch
Katrine and the Trossachs. His art training, be-
sides his desultory studies at home, was supplied
by the Trustees' Academy, where he attended the
antique class. Robert Scott, however, who had
always regarded his own art in a commercial
spirit, discouraged his sons from looking forward
to painting as a profession, and accordingly they
learned engraving in the paternal workshop.
David soon gave it up and went to study at Rome,
but William's engraving of the ' Martyrs' Tombs,'
after Thomson of Diiddingston, shows that he per-
severed long enough to acquire proficiency in the
art. As time passed on, however, the drudgery
and routine of his father's business became so irk-
some that he abandoned it and went to London in
the spring of 1837. Till then his literary activity
had been greater than his artistic, but now the

latter assumed a more important place. Hoping
to supplant the fashionable engravings of the An-
nuals of the day, he etched a set of eight illustra-
tions to a volume of ' Landscape Lyrics,' but these
achieved only a barren success, and, when a set of
etchings on steel from his water-colours of Cava.
Her and Puritan subjects failed to find a publisher,
he turned seriously to painting. His early studies
in London were mainly in the direction of dramng
from the antique at the British Museum. Among
his earliest works were, 'The Old English Ballad
Singer' (sold from the British Institution), 'The
Jester' (1840), 'The Wild Huntsman,' and 'King
Alfred disguised as a Harper' (these three shown
at the Suffolk Street Gallery). He began to make
friends, as indeed he had always done, and these
friendships, frequently close and lasting, were
always with notable, and often with famous, men ;
among whom may be mentioned. Frith, Egg,
Poole, Ward, Kenny Meadows, W. J. Linton,
Leigh Hunt, G. H. Lewes, John Leech, Swinburne,
Woolner, Uolman Hunt, and D. G. Rossetti. A
series of symbolical designs rejiresenting ' The
stages in life of the self-seeking man ' belongs to
this time. His poem of ' Rosabell ' also appeared
in Leigh Hunt's 'Repository.' In 1842, he, as
well as his brother David, took part in the cartoon
competition for the new Houses of Parliament,
but both were unsuccessful. At this time, too, the
Royal Academy rejected his ' Burgher Watch on
the City Wall,' and the British Institution his
' James VI., the Scottish Solomon, examining the
Witches of North Berwick.' His acceptance of the
Government's offer of a mastership in the School
of Design at Newcastle may have been due to
these discouragements. There he found an ad-
ministrative chaos that would have daunted a less
sanguine man, and it cost him much time and
worry before his work went to his mind. Here he
remained from 1843 to 1858. Interesting himself
in the study of local antiquities, he published the
fruits in his 'Antiquarian Gleanings in the North
of England.' The extended continental tours in
which he took so much pleasure began also about
this time. During one of these to Germany, he
visited Munich and Nuremberg, the latter as a pious
pilgrimage suggested by his loving study of DUrer,
whom he painted looking out on the Tliiergarten
Hof from the balcony of his house. His poetic
activities had continued, and in 1846 his longest
poem, ' The Year of the World,' appeared. It was
allegorical and philosophical, and attracted no
popular notice ; but it brought him the warm and
lasting friendship of Rossetti, and the close inti-
macy thus inaugurated was valuable to both. In
1849 his brother David (q.v.) died, and William's
Life of his brother, written with fulness of know-
ledge and sympathy, deserves warm praise.
Through Rossetti he became familiar with the pre-
Raphaelite Brotherhood, and contributed to the
' Germ,' but it does not appear that he modified
his artistic practice through any influence of theirs.
In 1854 he paid his first visit to Sir Walter Trevel-
yan at Wallington Hall, Morpeth, and the friend-
ship which ensued led to his preparing a scheme of
decoration for the hall, which was carried out, and
remains as perhaps the best specimen of his artistic
powers. He chose subjects from Border history
and legend : ' St. Cuthbert on Fame Island,' ' The
Building of Hadrian's Wall,' 'The Death of Bede,'
'The Danes descending on the Coast at Tyne-
mouth,' 'The Spur in the Dish,' 'Bernard Gilpin

O
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PAINTERS AND ENGRAVERS.

addressing the Borderers,' 'Grace Darling,' and
' Iron and Coal.' Tliese (named in order of com-
pletion) formed a series of eight large designs, tlie
whole being exliibited at tlie French Gallery in
Pall Mall in June 1861. The spandrels of the
upper arches in the same hall were hlled in with a
series of eighteen scenes from the ballad of ' Chevy
Chase,' and were placed in 1870, while the lower
pilasters were decorated by tall plants painted on
the stone (these being executed by various hands).
His friendship with Miss Boyd of Penkill began
in 1859, and in the summer of the nest year he
paid his tirst visit to her ancestral home, where he,
in years to come, passed much of his time, where
he did some of his best decorative work, and where
at last he was to die. The changes incident on the
re-organization of the central authority and the
establishment of the Department of Science aud
Art which led ultimately to his retirement in
1864, at first made his position more congenial ;
and the courses of lectures he delivered to the
senior students were afterwards published. Freed
from official duties, he returned to Loudon and
settled in Elgin Read, Netting Hill. The decora-
tions at Miss Boyd's seat at Penkill Castle, near
Girvan, Ayrshire, consist of a scries of paint-
ings illustrative of the 'King's Q;iair' on the
outer wall of a spiral staircase. The work was
done directly on the wall in oil pigments, the
medium being wax dissolved in turpentine. Be-
tween 1865 and 1868 the windows in the South
Kensington Keramic Gallery occupied his atten-
tion. They are drawn in graffito on a burnt umber
ground, the designs showing like etchim^s in brown,
lieigbtened and varied with bright yellow. They
represent a pictorial history of the Keramic Arts.
In 1870 he settled in an old house he bought at
Chelsea. The decoration of the staircases leading
to, and of the doors of, the Lecture Theatre at
South Kensington was entrusted to him, but was
never carried out, although the drawings were pre-
pared, and are now in the Museum. In 1870 his
' Life of Albert Dtirer,' a book long meditated,
appeared. His poems came out in 1875 with
etchings by himself and Mr. Alma-Tadema, and
with a dedication to Rossetti, Swinburne, and Wni.
Morris. In this book is comprised the best of his
poetical work. His ' Poet's Harvest Home ' fol-
lowed in 1882. In 1887 he was elected an Honor-
ary Academician of the Royal Scottish Academy.
He was also honoured with the degree of LL.U.
For the last six years of his life he suffered much
from angina pectoris, and in 1890, on November
22, he died at Penkill Uastle.

He had exhibited at the Royal Academy, Suffolk
Street Galleries and the British Institution about
twenty pictures in all, the last at the Academy of
1869. His best pictures, the subjects of all of
which are taken from historical or poetical sources,
are, in addition to those already mentioned, 'Bell-
ringers and Cavaliers celebrating the Entry of
Charles II. into London ' (1841), 'Chaucer, John
of Gaunt, and tljeir Wives,' 'King Arthur carried
to the Land of Enchautn.ent ' (exhibited at the
Academy in 1847, and perhaps his b(St easel
picture), 'The Border Widow' (lf-51), ' Una and the
Lion,' and ' The Norns watering Yggdrasil.' His
'Eve of the Deluge' hangs in the Tate Gallery,
and 'The Temptation of Eve' (water-colour) in
the South Kensington Museum, where are also the
designs for the inner court of Wallington Hall.
On the staircase of the Literary and Philosophical

Institute, Newcastle-on-Tyne, there is a very fine
fresco by him 5 ft. x 4 ft., entitled ' The Building of
the Castle,' and there are other works by him in
private residences near Newcastle. He certainly
prepared many drawings for fresco work in the
Town Hall and Mansion House of the same city,
but does not appear to have executed the paintings.
In William Bell Scott's art we are struck by the
exuberance of his fancy ; this, combined with his
fine sense of style and his instinct for the pictur-
esque, compensates largely for his somewhat faulty
draughtsmanship and his occasional fniiiugs as a
colourist. He always studied accessories and de-
tails with the greatest care. In decorative orna-
ment he is at his best ; here his faculty of invention
and his fine taste give him high ranlc.

His poetry is better known, perhaps deservedly
so, than his pictorial art : many of his sonnets are
admirable in structure and felicitous in expression.
He was a true Scot ; and his speculative and
metaphysical attitude of mind, as expressed in
his poetry, was perhaps too strong for the romantic
spirit, which, under the stimulus of Rossetti's
example and friendship,might otherwise have given
it a wider appeal.

Besides writing Diirer's life he also published
studies of the Little Masters, to which he had given
much time, various voluines dealing popularly with
art history, and editions of Keats, Byron, Cole-
ridge, Shelley, Shakespeare, and Scott, with critical
and biographical introductions. He contributed
many articles to this Dictionary.

His ' Autobiograpliical Notes,' edited by Prof.
Minto, and published in two volumes in 1892, are
full of interest,though perhaps too outspoken. From
them, the article in the ' Dictionary of National Bio-
graphy,' and the obituary notices in the ' Athenaium,'
the 'Academy,' and the 'Times,' the above has been
compiled. An essay by H. P. Home appeared in
the 'Hobby Horse' in 1891, dealing more par-
ticularly with his place in literature. J. H. W. L.

SCOTT, William Henry Stotiiard, water-colour
painter, born March 7, 1783, was a member of the
Old Water-Colour Society, and a constant exhibitor
in its galleries for many years. He practised at
Brighton, and most of his works are subjects from
Sussex rural scenery. He died December 27, 1850.

SCOTTI, GoTTARDO, of Piacenza, a painter
emploj'ed at Milan in the second half of the
15th century. In 1457 and 1458 he was ex-
ecuting decorative work, and in the following
year, in company with Cristoforo da Monza,
valued an altar-piece by Ambrogio Zavattari.
He was a member of the Guild of Painters, and
was continually employed in the Castello and in
the Cathedral at Milan. A triptj-ch bearing his
signature is in the Poldi Museum at Milan, and a
picture of similar character, with scenes from the
life of the Madonna, belongs to Signer Achille
Cologna in that city. Gottardo's son, Bernardo,
is known to have painted at Cassino between 1487
and 1500. There were several other painters of
the name of Scotti, one of them being Stefano, the
master of Gaudenzio Ferrari. C.J. Ff.

SCOTTO, Felice, flourished at the end of the
16th centur)-. He painted many pictures at Como
for private individuals, and at S. Croce a series of
frescoes from the life of S. Bernardo.

SCOTTO, (or Scotti,) Francesco, an Italian en-
graver, was born at Veui. e about 17G0. His fac
similes of original drawings by Raphael, with others
by Rosaspina, were published by the Abbate Celotti

A BIOGRAPHICAL DICTIONARY OF

under the title ' Desegni originali di Raffaello per
la prima volta publicata, esistenti nella Imp. Ac-
caderaia di Belle Arti di Venezia,' 1829, folio. F.
Sootto also engraved Leonardo da Vinci's (?) so-
called ' Modesty and Vanity."

SCOTTO, (or ScoTTi,) GiROLAMO, born in 1780,
was educated in the school of Longhi, at Milan.
He was one of the best pupils of that master. The
following are among his best plates :

The Madonna di San SiSto ; after Raphael.

The Madonna di Foliguo ; after the same.

Mater pulchrae dilectionis ; after a picture discovered at

Genoa in 1823, and ascribed to Raphael.
The Terranuova Madonna ; after Raphael.
The Magdalen at the feet of' Christ ; after P. Veronese.
Children healed by the garments of St. Philip ; after A .

del Sarto.

SCOTTO, Stefano, a Milanese painter, who
fJourished at the latter part of the 15th and com-
mencement of the 16th centuries. He was an
admirable painter of grotteschi, and had the lionour
of being the master of Gaudenzio Ferrari ; he is
also believed to have taught Luini.

SCOUGALL, George, a Scotch painter, of the
end of the 17th and beginning of the 18th centuries.
He is said to have been the son of John Scougall,
and practised portrait painting, imitating the man-
ner of Lely. Many portraits attributed to the elder
Scougall are so inferior in artistic merit to the work
of that painter, and so evidently produced under
the influence of" Lely, as to make it all but certain
they are by the younger painter.

SCOUGALL, John, a Scotch painter of the middle
of the 17th century, is supposed to have been a native
of Leith. Much obscurity exists as to his history.
Tradition states him to have been a favourite of
James VI., who is said to have rewarded him with
a ring for a portrait he painted of Prince Henry,
but existing portraits by him are dated so late in
the 17th century as to throw much doubt on this
story. Such are the portrait of Sir Archibald
Primrose, Lord Clerk Register, dated 1670 (be-
longing to Lord Rosebery), and two portraits of
the ancestors of the Clerk family, dated 1674 (at
Penicuik House). In the Scottish National Gallery
there is a portrait of John Scougall, painted by
himself, holding a ring in his hand, in supposed
allusion to the above-mentioned legend.

SCOULER, James, miniature painter, was a
member of the Free Society in 1763, having
previously exliibited with the Society of Artists.
He is said to have gained a premium from the
Society of Arts when only fourteen, in 1755. He
exliibited constantly at the Royal Academy, from
its foundation till 1787, sending chiefly miniatures,
but occasionally crayon drawings.

SCRETA, Karl, (Count Ssotnowsky von Za-
WORZIC,) painter, was born of a noble family at
Prague in 1C04. For several years he lived and
worked at Venice, Bologna, and Florence ; in 1634
he accompanied his friend, Wilhelm Bauer, to Rome.
By his talents and application he obtained a high
reputation in Italy, and was even appointed pro-
fessor in the Academy at Bologna. On his return
to his native country he became a member of the
Academy at Prague, and, in 1652, principal of that
institution. Mauy of his works have been engraved.
In the Dresden Gallery there are ten of his pictures.
Many of his subjects are taken from sacred history,
and the legends of the Saints ; of the latter he de-
lighted to paint fanciful portraits. It is recorded
that he painted his own portrait as St. Giles, in the

church of St. Martin, and again as St. Luke paiuting
tlie Virgin, in the Thein-kirche, both at Prague. He
engraved a curious plate, in two sheets, which was
published with the title ' Pliilosophia Universa in
Universitati Pragensi;' it is signed Car. Secreta
fee. 1666. He died at Prague in 1674.

SCRIVEN, Edward, engraver in the chalk and
dotted manner, bom at Alcester, near Stratford-on-
Avon, in 1775, was a pupil of Robert Thew. His
work is to be seen in ' Specimens of ancient Sculp-
ture,' published by the society of Dilettanti, in
Dibdin's 'Aedes Althorpianae ; ' in Tresham's
' Gallery of Pictures,' and other publications of the
same class. He engraved Benjamin West's studies
for the heads in his ' Christ Rejected ' ; many de-
tached plates for Boydell and other publishers,
after English artists ; and a series of portraits,
chiefly after Peter Lely, of the heroines of 'Gram-
mont's Memoirs.' He died in 1841.

SCROPE, William, (of Castle Coombe,) an ama-
teur painter, born 1772. He published several books
illustrated by his own pencil, among which we may
mention, 'The Landscape Scenery of Scotland,'
' Days and Nights of Salmon Fishing,' and ' Days
of Deer-stalking.' He occasionally exhibited at
the Royal Academy, and also at the British Institu-
tion, of which he was one of the directors. He
died on the 20th of July, 1852.

SCROTS, WiLLEM, a Flemish portrait painter
of the 16th century, was appointed painter to Queen
Mary of Hungary in 1537. He is said to have
painted portraits of the Empress Elizabeth, mother
of Mary of Hungary, and of Charles V. and his
Empress, but these have disappeared.

SCROUDOMOFF. See Scorodomoff.

SCULPTORE, Adamo, (Gnisi ?) was born at
Mantua in 1530, and is supposed to have been the
sou of Gio. Bat. Sculptore. He was a draughtsman
and engraver, forming himself on Michelangelo
and Giulio Romano. The dates on his plates range
from 1566 to 1577, but he seems to have begun
engraving long before the former year ; and if the
title-page to his series of plates after Michelangelo's
frescoes in the Sistine Chapel be really by himself,
lie must have lived longer than is usually supposed,
for it is dated 1585. He signed his plates with a
monogram composed of an 8. on the bar of an A.
Of some 130 prints ascribed to him, the best,
perhaps, are :

A Holy Family with Saints ; after Giulio Romano.
A Pieta ; after Michelangelo.

SCULPTORE, Diana, (Ghisi ?) was born at
Mantua about 1535, and is believed to have been a
daughter of Gio. Bat. Sculptore. The dates on
her sixty plates range from 1581 to 1588. About
1579 she married the architect and sculptor, Fran-
cesco Ricciarelli, of Volterra, after which she occa-
sionally added his name to hers in her signatures.
In a few instances she signed her work with the
single word Diana, sometimes with a monogram
composed of a D. with an S. inside it, followed with
the word incidebat or Mantuana. She engraved
after Raphael, Zuccari, Paris Nogari, and especially
Giulio Romano. Her best plates are :

The Martyrdom of St. Catherine.

The Feast of Psyche ; after Giulio Romano.

The Woman taken in Adultery ; after the same.

The Lirth of John the Baptist ; after the same.

The Eirth of .■Vpollo and Diana ; after the same.

The Corpse of Patroclus carried off the Field ; after tin

same.
Christ's charge to Peter ; after Raphael.

LAZARO BASTIANUS

CALLED

SEBASTIAN I

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MADONNA AND CHILD

PAINTERS AND ENGRAVERS.

SCULPTOEE, Giovanni Battista, (Ghisi?)
called ilANTOVANO and Bebtano, was born at
Mantua in 1503. He was architect, painter, and
engraver, and a disciple of Giulio Komano and
Marc' Antonio. After the death of the fonner he
became architect-in-chief to the Duke of Mantua.
He is said to have designed altar-pieces for Man-
tuan churches, wliich were actually painted by
Brusasorci, Guisoni, and Ippolito Costa. He en-
graved about twenty plates, the dates on which
range from 1536 to 1540. In technique they are dry,
deficient in half-tones, but good in drawing. He
used to be considered the head of the Ghisi family,
but later researches have gone far to prove that his
name was really Soulptore, Scultore, or De' Scul-
tori, and that the word 'Sculptor,' which occasion-
ally follows his usual signature of /. B., or 1. G.,
Mantuanus, was not a mark of condition, but a
Latinized form of his name. His best plates are
' A Sally of the Trojans against the Greeks,' and
' Hercules and AntEeus,' ' David beheading Goliath '
(1540), and 'Mars and Venus' (1539), all after G.
Romano. He died at Mantua in 1575.

SEATON, John Thomas, portrait painter, was
the son of Christopher Seaton, the gem engraver.
He was a member of the Incorporated Society of
Artists, and exhibited at the Academy between
1761 and 1777. About three years later he was
practising with much success in Edinburgh, and
was still living in 1806.

SEBASTIANI, Lazzaro, (Bastiani, see p. 94,
vol. i.) c. 1470 ? has been erroneously described as
the son, brother, or pupil of Carpaccio, and the
mistake originated by Vasari, who made a double
personality of this artist, has since been repeated.
The date of his birth is uncertain. He came from
Padua and worked chiefly at Venice, where in
1470 he was enrolled in the Guild of S. Girolamo ;
from 1496 his artistic activity diminished, but the
time of liis decease has not been recorded. His
first pictures possess, to a marked degree, the dis-
agreeable characteristics of the Paduan Scliool.
During middle life the influence of the Vivariui
softened the crudity of his early manner, and he
practised with success the use of the new oil medium
then recently introduced into Venice. Finally he
became a successful imitator of Carpaccio, and was
esteemed by his contemporaries as a man of sound
judgment on artistic niatters, and was selected
by Giovanni Bellini to assist in the valuation of
Giorgione's frescoes in the Fondachi del Tedesclii
at Venice. Zanetti describes him as a painter del
modo antico, an expression which suggests that
his style retained a certain conventionality which,
although by no meaus incompatible with good
work, prevented him from reaching the level of
Carpaccio and the best artists of the Bellini group.
His earliest known work, the ' Entombment of
Christ,' in the Church of S. Antonio at Venice, is
atypical work of the Squarcionesque stjde, poor in
colour, studied in composition, and the sacred
scene depicted with a coarse realism verging on
the grotesque. ' Sta. Veneranda seated in glory
with Jesus Christ,' painted for the Nuns of the
Corpus Domine (Vienna), betrays the influence of
Benedetto da Diana, and the latter artist, in com-
pany with Mansueti, worked with Sebastiani in the
Scuola of San Giovanni Evangelista at Venice.
These decorative paintings, formerly the property
of the Knights of St. John of Jerusalem, have
been removed to the Accademia. No. 561, ' Filippo
di Massari, the Crusader, returning from Jeru-

salem, offers to the Confraternity of S. Giovanni
Evangelista the relic of the True Cross,' is by
Sebastiani. 'The Scenes from the Life of S.
Ursula ' in the Ace, Venice, have been attributed
to him, also some portions of the decoration of
the S. Giorgio Scliiavone, and it is possible that
he may have worked on them as assistant to
Bellini and Carpaccio. In the likeness of Canon
Giovanni degli Angeli, who kneels at the feet of
the Virgin, in Sta. Maria e Donato at Murano, the
Vivarini influence is manifest, and the reputation
of Sebastiani as a portrait painter is confirmed by
his being selected to execute the series of the Doges
in the Hall of the Twenty. The foregoing statement
embodies received opinions concerning this artist
until the present time, but Mss. Pompeo, Moli-
mente, and Gustaf Ludwig, in a work entitled
' Vittore Carpaccio h la Confraternity de Sta.
Ursula,' claim a more important position for
Lazzaro Sebastiani, whom they regard as the
master of Carpaccio, Mansueti, and Diana. _ They
, also assign to him several pictures not hitherto
included in his authenticated works, notably, 'The
Doge Mocenigo praying the Virgin to deliver
Venice from the Plague' (Nat, Gall., England). This
assertion has aroused severe criticism, this fine pio-
, ture ha%-ing hitherto been attributed to Bellini or
' Carpaccio. ' The Madonna appearing to St. Francis
[ and St. Jerome' (Royal Palace at Vienna), by Bene-
detto di Diana, may be with some probability trans-
' ferred to Sebastiani. He was still living in 1508.

Asolo. St. Jerome enthroned.

Barletta. St. Anthony of i>adiia.

Bergamo. Lockis Carrara \ Coronation of the Virgin.

Collection, i 1490.

Venice. ■?. Antonio. Entombment.

,, Correr Museum. Annunciation.

,, Accademia. Gift of the Relic.

,, „ S. Ouofrio and his Tree.

{Pitta, painted for Citta-

dello. )

„ „ The Nativity.

„ „ The Dcposiiion from t!.e

Cro!=s.

_. ^ ,7 1 Glorification of Sta. Ver.e-

Vienna. Galler;/. j ,,^^^,^

„ „ FimeralofSt. Jerome. A.W.

SEBASTIANO del PIOMBO. See Ldcian'i.

SEBILLE, Gtsbert, a Dutch painter, of whom
little is known, except that he lived in the middle
of the 17th century. He painted the 'Judgment of
Solomon ' for the Town-house of Weesp, of which
place he was a burgomaster. There is also an
'Assembly of the Magistrates in 1652' by him in
that building.

S^BRON, HiPPOLYTE, painter, born at Caudebec
in 1801, was a pupil of Daguerre. He began his
career by painting dioramas. Later he devoted
himself to easel pictures, and painted chiefly church
interiors, ruins, public buildings, &c., and occasional
portraits. He was a constant exhibitor at tlie Salon
from 1831 to the year of his death, which took
place in 1879.

SECANO, Geronimo, a Spanish painter, born at
Saragossa in 1638. After learning the rudiments
in his native city, he visited Madrid, where he
studied the great masters in the royal collection,
and returned to Saragossa an able artist. Palomino
praises his frescoes and oil pictures in the church
of S. Pablo. For the last twenty years of his life
he practised as a sculptor as well as painter. He
had many pupils. He died in 1710.

SECCANTE, Sebastiano, was a native of Udine,

A BIOGRAPHICAL DICTIONARY OF

a!id flourished at the beginning of the 16th century.
He was a disciple of Pomponio Amalteo, and was
a respectable painter of history and portraits. In
the church of S. Giorgio, at Udiue, tliere is a ' Clirist
bearing His Cross,' with angels holding the instru-
ments of the Passion, by Seccante. He married
the daughter of Pomponio Amalteo.

SECCHl, Giovanni Battista, an Itahan painter
of the 17th century. He was called Ii, Caravaggio
and Caravaggino from the place of his birth, and
practised about 1G19. Lanzi states him to have
painted an ' Epiphany ' for S. Pietro in Gessato.

SECCUIARI, GlULlo, painter, was a native of
Modena, but was educated at Bologna, in the school
of the Carracci. He afterwards visited Rome and
Mantua, where he painted several pictures, which
u-ere destroyed or carried away at the sacking of
that city, in 1G30. There are some of his works
in the churches at Modena. He died in 1631.

SECHAN, PoLYCAKPE Charles, born in Paris in
1803, was a scene painter of much repute, and in
this capacity was engaged at the Grande Op^ra,
where he painted the scenery for a great number
of pieces. He was similarly employed at the
Theatre Fran9ais, the Thdatre de i'Ambigu, and
the Porte St. Martin, and had a large practice as a
restorer and decorator of theatre interiors, both in
Paris and the provinces. He painted in the Dres-
den theatre, was charged with the decoration and
furnishing of the Dolma-Baghtche Palace, Constan-
tinople ; and decorated the Theatre de la Monnaie,
Brussels. Outside his theatrical employment his
best known works in Paris were the restoration of
the Galerie d'Apollon in the Louvre, and the trans-
formation of the Pantheon into the church of St.
Geiievifeve. He died in Paris, September 14, 1874.
SEDDING, John Dando, an ecclesiastical
architect, born in 1838, and one of the most i
perfect draughtsmen for leaves that has ever lived. I
He commenced architectural work under the .
superintendence of G. E. Street, and many '
churches were the result of his great knowledge. I
Perhaps the best known is the one he did not j
live to finish, Holy Trinity, Chelsea. His spare
time was always given up to designing, and
church enibroidtry, wall-papers, and decorative
canvas owe many of their most satisfactory designs
to his hand. He was exceedingly fond of trees
and flowers, and although a strong supporter of
the beauty of the formal garden with topiary work,
he was yet an almost equal admirer of tlie " nature
treatment" t.f gardens. He was never tired of
drawing the leaves of plants with every conceiv-
able variety of shape, position, and treatment,
filling very many sketch-books with such work
alone, and the success of his designs was very
largely due to the perfect knowledge he had
ac'iuircd of leaves and flowers. He was the author
of several important essays, and he died quite
suddenly in 1891, followed within a week by
bis devoted wife.

SEDDON, Thomas, landscape painter, the son of
an eminent cabinet-maker, was born in London in
1821. He went in 1841 to Paris to studj', and on
his return designed for his father. In 1850 he
took an important part in founding the North
London School of Drawing and Modelling in Cam-
den Town, where for some time he constantly
taught. In 1851 he began to paint, and in 1852
he exhibited his first work, 'Penelope.' He after-
wards turned to landscape. In 1853 and 1854 he
travelled with Mr. Holman Hunt in the East, arid
62

setting out again two years later, he was taken ill
at Cairo, where he died in 1856. His friends pur-
chased and presented to the National Gallery his
' Jerusalem and the Valley of Jehoshaphat.'

SEDELMAYER, Jeremias Jakob, was born in
1704, at Augsburg. He engraved some views of
the Imperial Library at Vienna from his own de-
signs, which were published in 1737. Also five
plates from Gran's ceiling pictures in the same
building. He died at Augsburg in 1761. Among
las other plates we may name :

Portrait of Wolff ; after Soy.

St. Rcsalie and St. Theresa.

Four Allegories ; after Solimena.

SEDELMEYR, Johann Anton, a German painter
and lithographer, born at Munich in 1797, studied
in that city under Kobell and Georg von Dillis.
He was a pleasing landscape painter, and litho-
graphed a number of pictures in the Munich and
Schleissheim Galleries.

SEDGWICK,WiLLiAM, engraver,born in London
in 1748, engraved under the influence of Bartolozzi
after Angelica KaufEman, Penny, and others. He
died about 1800.

SEEKATZ, Johann Konrad, born at Griinstadt,
in the Palatinate, in 1719, painted military scenes,
scenes of peasant life, and land.scapes with figures
in the style of Brouwer. ' Girl with a Candle,' a
'Boy with a Chopping-block,' and a 'Boy with
Dog,' are in the Staedel iMuseum, Frankfort. He
died at Darmstadt in 1768.

SEELE, Johann Baptist, painter and etcher,
born at Morsburg in 1775, was appointed court
painter and director of the King's Gallery at Stutt-
gart in 1804. He painted the exploits of the
WUrtemberg troops iu the years 1806 and 1809 in
a series of pictures now in the Palace. He died
in 1814.

SEELINGER, Alfred, historical painter, a native
of Bavaria, who painted a well-known picture, called
' Spartacus, Gladiator.' He died at Rio de Janeiro
in 1873.

SEELOS, Gottfried, German painter ; born
January 9, 1828, at Bozen ; became a pupil of
Josef Selieny, and studied at the Vienna Academy.
Became well known as a landscape painter; his
best-known works include scenes from the Tyrol,
such as ' Vogelweidhof,' ' Koloman in Tirol,'
' Scoglio Pomo,' &c. He died at Vienna, March
14, 1900.

SEEMAN, Enoch, (Zeeman,) portrait pamter,
born in llj'J4, was the son of Isaac Seeman, a por-
trait painter of Dantzic, by whom he wasbrought
to England. Here he painted many portraits, some
of which have been engraved, and here he died
in 1744. Enoch had a brother Isaac, who died in
1751, and a son Pacl, both of whom were portrait
painters.

SEGALA, Giovanni, born at Venice in 1663,
was a scholar of Antonio Zanchi. A ' Conception'
by him, painted for the Scuola della Cariti, Venice,
is praised bv Lanzi. He died in 1720.

fSEGANTINI, Giovanni. Of the Italian paintera
who, during the latter part of the nineteenth cen-
tury, revived to some extent the old traditions of
the land of art and song, none was more original
in his work and at the same time more truly
national in spirit than Giovanni Segantini. The
son of parents who belonged to the middle class,
and were at the time of his birth in very reduced
circumstances, Giovanni was born at the mountain
town of Arco, on the Lago di Garda, in 1858. His

FAINTERS AND ENGRAVERS.

mother died when he was four years old, and liis
father took him after her funeral to Milan, wliere
he placed him under the care of a female relation
who earned a scanty subsistence by going out to
work by the day. From that time nothing was
seen or heard of the elder Segantini, and it will
never be known whether the complete desertion of
his son was intentional or not. After two years of
great unhappiness, spent chiefly alone in a garret
whilst his guardian was absent, Giovanni ran away
to the mountains and was adopted by some kind-
hearted peasants,, whose animals he helped to look
after in return for hoard and lodging. The story
goes that his art talent was first revealed by a
drawing on a wayside stone of one of the pigs
under his charge, which attracted the wondering
admiration of the simple mountaineers, wlio took
the artist and his work to the local authorities and
persuaded them to send him at their expense to
the Schcol of Art at Milan. Here he made very
rapid progress, and had soon learnt all that the
masters could teach him. At Milan young Segantini
had a hard struggle to live, for the aid so gener-
ously given v.-as barely sufliciect to pay the fees
at school, and many were the privations bravely
endured by him in the little garret which was his
only home, and from which he could see nothing but
tiie roofs of a few houses and a small patch of sky.
He was but nineteen, and was still working at the
school courses in spite of his own conviction that
" academies do real art harm by turning out a lot
of painters who are not artists," when he produced
his first oil painting, ' The Choir of the Church of
Saa Antonio.' In this poetic composition he tri-
umphantly achieved a task which tests the skill of
the most practised craftsmen : the true rendering
of the eflfect of light on an ornate interior, proving
that he mi^-ht have secured success in otiier direc-
tions thanthat he elected to follow. Segantini's
art was from the first " personal and individual,'' the
direct outcome of his own simple character, owing
absolutely nothing to any human teacher. It was
long, of course, before he achieved his later mas-
tery of technique, but even his earUer pictures
show how deep was his sympathy with the pathos
of nature, how truly he saw into the very heart of
the subjects which appealed to him. During his
residence at Milan he painted many beautiful
genre pictures, such as the well-known ' Falco-
niera,' but all the time he was homesick for the
mountains, and as soon as he felt that he had, as
he expressed it, acquired "a technical method of
colour and design quite his own," he retired to a
lofty village of t!ie Brianza, and there settled down
amongst the humble shepherds and tillers of the
soil, to begin the series of pictures in which he put
forth all the strength of his original genius.

Among the most beautiful and remarkable of
the Brianza compositions are : the ' Ave Maria k
Trasbordo,' representing a boat laden with sheep
pausing on a lal;e in the gloaming of a summer's
day, while the shepherd and his wife perform their
evening devotions, and the larger 'Alia Stanga,'
which in genera! effect and the skill with which
the groups of oxen are painted recalls the best
work of Troyon.

From Brianza, Segantini went up to the j^et
higher Orison Alps, and remained for eight years at
the remote village of Savognino. In these lofty
solitudes he produced many an exquisite picture,
in which he interpreted with rare fidelity the life
of the simple-hearted mountaineers among the

austere and rugged sarrcundings of their homes,
representing them at work in the sheepfold, on
the farm, or in the fields, bringing out forcibly the
friendship between them and the animals upon whom
they depend for their daily bread, and teachin - in-
directly many a useful lesson of thnft, of self-denial,
and of privation nobly borne.

It is, of course, in his effective renderings of
simple homely scenes from peasant life, full as they
are of a delicately subtle insight into human nature,
equal to that of Millet and of Bastien-Lepage, that
Segantini was most successful, but these revealed
one side only of his own complex character. His
lonely wanderings in the deep silence of the Alps
intensified the strain of mysticism recognized by
his intimate friends when he was still a student at
Milan, and during the last few years of his life he
exhibited several symbolical and religious pictures,
so unlike anything else from his hand that it is
difficult to believe they are his work. Of these one
of the most remarkable is the ' Amore alia Fonte
della Vita,' or ' Love at the Fountain of Life,' in
which two lovers are seen walking together on
a lofty mountain meadow amongst the blooming
tlowers of May, whilst the Angel of Love with
outspread wings watches them from her post
beside a spring gushing forth from the living
rocks. Another fine picture is the 'Annunciation,'
in which the artist has represented the angel
sweeping down from heaven without the aid of
wings, to deliver the Divine message, which, in
spite of the adverse criticism it has received,
displays extraordinary technical skill.

Segantini died suddenly on September 28,
1899. He was working far up in the mountains
on a triptych for the Paris Salon when he was
taken ill in his hut, and as no water could be
obtained he drank melted snow, with fatal results.

The following is a list of Segantini's chief
pictures :

Ave Maria a Trasbordo.

Sorro^v Comforted by Faith.

The Blessing of the Slieep, or St. Sebastian's Day.

Alia Stanga (At the Tether), in the Rationed Gallery;
Rome.

SacreJ Art.

Silkworms.

Brianza Pipers.

An IdyU.

The Last Task of the Day.

Oue More.

In the Sheepfohl.

A Kiss by thu Fountain.

Two Mothers.

The Orphans.

A Sleeping Shepherd.

Moonlig'nt Eliect.

Little Sheep.

The Bu-d's Nest.

On the Alps after a Storm.

Sad Hours.

A Prayer at the Foot of the Cross,

Sheep Shearing.

The Potato Harvest.

Early Mass.

The Dun Cow.

At Savognino.

On the Balcooy.

F.est iu the Shade.

The Return to the Sheepfold.

Knitting.

Haymaking.

Ploughing in the Engadine.

Alpine Pastures.

Spring Pastures.

Spring iu the Alps.

Alpine Lan licape.

A BIOGRAPHICAL DICTIONARY OF

The Spinning-WTieel.

The Two Mothers.

Love at the Fountain of Life.

The Angel of Life.

The Source of Evil.

The Punishment of Luxury.

The tTunatui-al Mothers.

The Home-coniing.

Portrait of an Old Lady.

The Sower.

The Annunciation.

The Triptych : Life, Nature, Death.

The Choir of S. Antonio.

La Falconiera.

The Shepherd's Income.

The Toilers of the Earth.

The Empty Cradle.

Rest After Toil.

A. G. B,

SEGAR, Francis and William, two English
portrait painters, brothers, who were practising in
London in the 16th century, are mentioned by
Meres in his 'Wifs'Comruonwealth.'published 1598.

SEGARRA, Jayme, a Spanish painter, who,
in the year 1530, painted an altar-piece for Notre
Dame r!e Belen, at Reus.

SfiGfi, Alexandre, French landscape painter ;
born in Paris in 1817, and became a pupil of
Cogniet and Flers, and first contributed to the
Salon of 1844 his ' Interieur de Ferrae k Voiray ' ;
obtained a medal in 1869, and a second-class
medal in 1873 ; was made a Knight of the Legion
of Honour in 1874, when he exhibited ' Un JIatin
dans les Alpes' and 'Ferme de Karoual." His
' Chaines de Kertregounec ' is in the Luxembourg,
and among his most notable paintings are ' La
Vall(5e de Courtry,' 'Les Champs k Coubron,'
'L'Epine d'Antoigney,' 'Les Chatnigniers de
Beauvoir,' 'La Valine de Ploukermeur,' and 'La
Vallde de la S^e.' As an etcher of landscapes he
was also highly successful. He died at Coubron,
Seine-et-Oise, October 27, 1885.

SEGHER, Anne, miniature painter, was the
daughter of a physician at Breda, and practised in
the 16th century.

SEGHEES. SeeZEGHEKS.

SEGHIZZI, Andrea, a decorative painter, bcirn
at Bologna in 1630, was a pupil of Albani, and
painted in Ravenna, Modena, Parma, and Bologna.

SEGNA Di BUONAVENTURA, painter, who
flourished at the beginning of the 14th century at
Siena, was a pupil of Duccio di Buoninsegna. His
chief works are a'JIajesta,' in the church of Cas-
tiglione Fiorentino at Arezzo, 'Christ on the Cross,'
in the Abbey of S. Fiore, a ■ Virgin with Saints,'
in the Academy of Siena, and ' Christ on the Cross
with the Virgin and St. John,' in the National Gallery
in London.

SEGOVIA, Juan de, a Spanish marine painter,
who resided at Madrid in the middle of the 17th
century.

SEGUIER, John, younger brother of William
Seguier, bom in London in 1785, studied at the
Academy Schools, and painted views, among which
are two of Oxford Market, and one of Kew Bridge.
He succeeded his brother as superintendent of the
British Institution, and died in London in 1856.

SEGUIER, William, bom in London in 1771,
was the son of David Seguier, a well-known picture-
dealer of the last century. He studied under George
Morland, and painted views in and around the
metropolis. He was appointed keeper of the
royal pictures, and of the National Gallery on its
foundation in 1824. He was also superintendent
of the British Institution, and was an active ' re-
64

storer' of pictures. He died at Brighton in
1843.

SEGURA, Antonio de, a painter and architect
employed by Philip II. in 1680 to paint an altar-
piece for the monastery of S. Yuste, and to copy
Titian's ' Apotheosis of Charles V.' He died at
Madrid in 1605.

SEGDVIRA, DoMENico Antonio de, a Portu-
guese painter of the 19th century. In his youth
he showed such capacity for art, that a Portuguese
minister sent him to Rome to studj'. In 1810 he
returned to his native country, and practised there
with success.

SEIBELS, Karl, landscape painter, was a jmpil
at the Diisseldorf Academy and of Achenbach.
He painted scenes in Holland and Italy. He died
at Naples in 1877.

SEIBOLD, CuRiSTiAN, bom at Mayence in 1697
(1703), painted portraits somewhat in the style of
Denner. In 1749 he became painter to the Empress
Maria Theresa. The Dresden Gallery has five of
his portraits, including one of himself. He died at
I Vienna in 1768.

I SEIDEL, GnsTAV, German engraver ; born April
1 28, 1819, at Berlin ; studied at the Academy under
! Buchhorn and Mandel. As a line-engraver he
' became famous by his reproduction of pictures by
j Diige, Kaulbach, Koerner, Richter, Schadow,
1 Vecelli, and others. He was a member of the St.
Petersburg Academy, and died at Rudersdorf near
Berlin in July 1901.

SEIDL, Andreas, painter and engraver, born at
Munich in 1760. In 1781 the Elector sent him to
Italy, where he gained a prize at the Academy of
St. Luke in Rome, and became a Member of the
.Academies of Bologna and Parma. In 1787. on
his return, he became Court-painter and Professor
at the Munich Academy. He etched a few plates,
chiefly ' Academies.' He died in 1834.

SEIDLER, Caroline Louise, horn at Jena in
1786, was instructed by Roux, and by Goethe,
whose portrait she painted. From 1818 to 1823
she studied in Italy, where she copied Raphael and
Perugino. In 1823 she became teacher to the Prin-
cesses Maria and Augusta, at Weimar, and in 1824
curator of the Weimar Gallerj'. She painted
portraits in oil and crayons, as well as religious,
mythological, and romantic scenes. She died at
Weimar in 1866.

SEIFERT, Alfred, Hungarian painter ; bom
September 6, 1850, at Horovic (Bohemia) ; became
a pupil of Kirnig at Prague, and afterwards studied
at the Munich Academy under Echter, Sthihuber,
and Raab. His best-known works are ' Philijipine
Welser' (in the Rudolfinum, Prague), 'Oberon,'
'Titania,' ' Ein Gelobniss,' and ' Im Herbst.' He
died at i^Iunich, February 4, 1901.

SEILLER, JoiiANN Georg, of Schaffliausen, a
mezzotint engraver, flourished about 1700. His
plates are mostly portraits, and are good for their
date. Among the best are :

Portrait of the Emperor Joseph I.

Do. J, H, Heidegger.

Do. the Empress Eleonora.

Do. the engraver Bartholomans Kilian.
A Monk attempting to kiss a Girl.

His plates are inscribed J. G. Sei/ler, fecit, or J.
Geo7-g Seiller fecit et ex., and sometimes Joli. Georg
Seiller scaJTusianvs fecit.

^ SEINSHEI.M, August Kabl, Gbaf von, painter,
lithographer, and etcher, born at Munich in 1789,
began etching about 1809. While studying law at

PAINTERS AND ENGRAVERS.

Landehut he learnt oil-painting from Simon Klota.
Prom 1813 to 1816 he frequented the Munich
Academy, where he studied under the Langers.
In 1816 he went to Italy, and joined the so-called
"Nazarenes." On his return to Munich he painted
a ' Virgin and Child ' for the church at Grtinbach,
a 'Charge to Peter' for the church at Vohburg,
and other altar-pieces. lie died at Munich in

1869. He etched ten plates, of wliich we may
aame :

An Old 'Woman Reading.

A Young Woman with a Child.

A Madonna with the Child Jesus,

A Man's Head.

A Roman Mother,

SEISENEGGER, Jakob, bom in Austria in 1505,
painted the portrait of the Emperor Charles V.,
and became in 1531 Court painter to the Grand
Duke Ferdinand. He died at Linz in 1567.

SEITZ, Anton, German paiuter ; born January
23, 1829, at Roth-am-Sand, near Niiremberg,
where he studied art under Wagner (F.) and
Beindel, becoming subsequently a pupil of Fliiggen
■at the Munich Academy. He painted genre
pictures much in tlie style of Meissonier, such as
'Landliche Briefsteller,' ' Schiitzenkonig,' ' Karten-
*pieler,' &c. He died at Munich, November 22,
1900,

SELB, Joseph, bom at Stockach in the Tyrol, in
1784, was first instructed by his brother Kabl, also
a painter, and then went in 1799 to Dttsseldorf.
He aftervvards worked in Munich, and gained a
name by his lithographs after Vernet, In 1816 he
founded a Lithographic Institute. In 1820 he as-
sociated himself with von Mannlich in carrying on
Strixner's 'Munich Gallery.' Ho died at Munich
in 1832.

SELIGMANN, Johann Michael, engraver, born
at Nuremberg in 1720, was instructed by the
Preisslers. He visited Rome and Petersburg, and
on his return he engraved manj' plates for botanical
and anatomical books. He died in 1762.

SELL, Christian, a native of the Free Town
of Hamburg, born in that city in 1831, of an im-
portant Hamburg family. He was a pupil of the
Academy at Diisseldorf, afterwards entering the
•Btudios of Hildebrandt and Schadow. He was
specially interested in pictures representing war
or military equipment, and in order to study his
favourite subjects attached himself to the Prussian
army, and went through the wars of 1866 and

1870. There are representative pictures by him
at Berlin, but his best work is at Leipsic, repre-
senting the soldiers in the Thirty Years' War
dividing booty. He has been claimed as a Dane,
but himself preferred to be considered a Ham-
burger, He died at Diisseldorf in 1883.

SELLENY, Joseph, bom at Meidling, near
'Vienna, in 1824. He studied nt the Vienna Aca-
demy and under Ender and Steinfield, with the
former of whom he travelled in the Tyrol and Italy.
In 1857-59 he travelled with the Crown Prince of
Austria, the present Emperor, to North Africa, the
Canary and Cape Verde Islands, and the Brazils.
He died insane in 1875.

SELLET, James, bom in 1764, was an English
portrait, fruit, flower, and genre painter. He died
at Norwich in 1840.

SELLIER, Charles FRANgois, painter, was born

at Nancy, December 25, 18.30. He was a pupil

of Leborne and of L6on Cogniet, and in 1857 gained

*he ' Prix de Rome.' He subsequently became

VOL. V. »

keeper of the Museum of Nancy, where he died
November 23, 1882. He executed th« paintings
for the chapel of St. Denis, in the church of St.
Bernard, Nancy, and the following works by him
are in the Museum :

The Penitent Magdalen.
The Death of Leander.
The Levite of Ephraim.

A Kitchen Interior.
Study of a Head.
An Italian Souvenir.

SELLMAYR, Ludwig, German painter ; born in
1834, at Munich ; painted landscapes, animals, and
still-life. He died in 1902.

SELMA, Fernando, a Spanish engraver, was
born at Valencia about 1750. He studied at
Madrid and Paris. He is among the best of the
Spanish engravers. His later manner resembles
more that of Edelinck than of his master, Car-
mona. He engraved the portraits of Cortes and
Solis, prefixed to the quarto edition of ' Historia de
la Conquista de Mexico,' published at Madrid in
1783, and afterwards engraved tlie plates for the
'Miritirae Atlas of Spain,' which occupied him
several years. He also engraved portraits of
Charles V., after Titian, of Magellan the navigator,
and various others. One of his best plates is the
' Spasimo ' of Raphael. We may also name :

La Madonna del Pesce ; after Raphael.

The Virgin and Child ; also after Raphael.

Selma died in 1810.

SELOUS, Henry C, British painter, born in
1811 at Deptford ; admitted as a student of the
Royal Academy about 1818, when he exhibited
his 'Portrait of a Favourite Cat.' In 1836 he'
published 'Outlines to Shakespeare's "Tempest."'
In 1844 he produced for the Art Union of London
a series of illustrations in outline of Bunyan's
' Pilgrim's Progress.' Obtained a prize for designs
illustrating the Life of Bruce. He also produced
twenty plates in outline for Kingsley's ' Hereward
the Wake.' To the Academy, British Institution,
and Suffolk Street Galleries he was a constant con-
tributor until 1874. His picture of 'Cassio wounded,'i
at Suffolk Street, was the last he exhibited. He died
at Seaworthy, North Devon, September 24, 1890.

SEMENTI, GiAcoMO, (Semenza,) painter, was
born at Bologna in 1580, and was a fellow-student
with Francesco Gessi, under Denys Calvaert and
Guido Reni. He was a clever follower of the style
of Guido, and painted pictures for the churches at
Bologna. Such are a ' Martyrdom of St. Cecilia,'
in the church of St, Elena ; a ' Marriage of St.
Catharine,' in S. Francesco ; a ' St. Sebastian,' in S.
Michele ; and a ' Crucifixion,' in S. Gregorio. A
'Martyrdom of St. Eugenia' is in the Bologna
Gallery. Sementi visited Rome, where he painted
frescoes in S. Carlo a Catinari, and in the 'Ara
Coeli.' He died at Rome in the prime of life.

SEMINO, Andre.*., (1526-1595,) called Semino il
Vecchio, son of Antonio Semino, studied first with
his father, and subsequently at Rome. His first
recorded work is a ' Baptism of Christ,' com-
missioned in 1552 by Adamo Centurione for the
church of Sta. Maria degli Angeli at Genoa, and
painted in rivalry with Luca Cambiaso, the
brothers Lazzari, and Pantaleone Calvi. Alone,
and in company with his brother Ottavio, he
painted a vast number of frescoes on all sorts of
subjects — religious, historical, classical, and myth-
ological — for churches and palaces at Genoa, Milan,
and Savona, A number of portraits by him, in-
cluding one of the wife of Scipione Metelli, of
Castelnuovo Lunigiana, and another (1582), of

A BIOGRAPHICAL DICTIONARY OF

Prancesco Maria Spinola, Marcheae di Garessio,
are also recorded. We, moreover, find notice of
a triptych for a chapel in the church of the
Annunziata at Genoa, representing the ' Nativity,'
with the Angel Gabriel appearing to St. Joseph
on one wing, and to the Shepherds on the other.
He died at Genoa at the age of 69, and was buried
in the church of Sta. Maria del Carmine in a family
tomb prepared by himself in 1578. His ability,
though commended by Lomazzo equally with that
of his brother Ottavio, was not so great; but his
steadiness and reliability were infinitely greater.
He left two sons, Cesabe (died about 1615) and
Alessanduo (died 1627), both inferior painters, by
whom were executed ' A Martyrdom of St. Cathe-
rine,' in the Genoese Duonio, and a 'Magdalen at
the Feet of Christ,' in the sacristy of Sta. Maria del
Carmine. So poorly, however, did they succeed
that they finally abandoned the trade of painters.
According to one authority, however, Ccsare
worked with considerable credit at Madrid. To
them, however, is probably due the foundation of
the Semini family of goldsmiths, embroiderers,
and craftsmen, recorded as residtnt and working
at Rome at the end of the sixteenth and throughout
the seventeenth centuries. Among the names
mentioned are Giuseppe (concerning an accident
to whom a (iocument dated September 18, 1620, is
in existence), Andrea, Benedetto, Gian Maria,
Giovanni, and Pietro. R. H. H. C,

SEMINO, Antonio, son of a distinguished soldier
of foreign extraction settled at Geno;i, wiis born in
that city about 1485. He early sliowed a taste for
art, and commenced to study under Ludovico Brea
of Nice, who was tlien residing at Genoa as the
guest of an Augustinian Father, uncle of the young
artist, Teraino Piaggia. With tliis youthful painter,
who was likewise a scholar under Brea's tuition,
Antonio entered into friendly relations and a good-
natured rivalry which lasted throughout their lives;
and many pictures, including a ' Martyrdom of
St. Andrew,' for the church dedicated to that saint
at Genoa, are their joint productions, and bear
both their signatures. His earliest recorded pic-
ture is a panel of the ' Arcliangel Michael,' with a
beautiful landscape, painted in 1526 for the Genoese
church of Sla. Maria della Consolazione. For an
older church, now destroyed, whicli bore this
designation, he and Piaggia executed a number of
frescoes in 1532, and later (1547) a ' Deposition.'
In 1535 he was at Savona at the invitation of the
Eiario family, where he painted a 'Nativity' and
a 'God the Father surrounded by Angels '(in a
lunette above) for their family chapel in the
church of S. Domenico in that city. He had a
special taste for landscape, in which he greatly
excelled, was an earnest student of art, and en-
couraged warmly the yotmger generation of
painters. He even triid to form a school at
Genoa, but being unable to do so, he sent his two
eons, Andrea and Ottavio, to Rome to receive their
artistic training. The last dated notice of him is
1547, although it is traditionally understood tl:at
he died in high honour and credit at an advanced
age. Other recorded works by him are :

Genoa. Ch. of S. Domenico. Deposition.

The Hospital for ) ^j^^ j^-^^ f Lazarus.
Incurables. ) °

„ Duomo (Chape! 't The Baptism of Christ.

of St. John the > (Pendant to Piayyia'a
Baptist) . J ' Birth of the Baptist.')
K. fl. H. C.
66°

SEMINO, QlDLio Cksare, a Genoese, who painte<}
a 'Crucifixion' for the church of S. Bartolomeo de-
Sonsoles, at Toledo. He was also employed by
Philip III. in the Palace of the Prado.

SEMINO, Ottavio, son of Antonio Semino, and'
brother of Andrea, was an artist of uncommon
brilliancy and talent, but a man of very dissolute
and irregular life. Early in his career he wa»
banished from Genoa for having killed one of his
apprentices, being only permitted to return on
payment of a heavy fine to the parents of the-
unfortunate victim. Along with his brother Andrea
he studied first in their father's studio, and sub-
sequently at Rome. At first also they lived and
worked together, but Andrea at last found Ottavio's
association so impossible that, weary of exhort-
ation, he finally refused to reside with him any
longer. Ottavio, however, had early secured the
friendship of Luoa Cambiaso, and in partnership
with that master he opened a Life-School at Genoa^
These two young men, puffed up at their own
performances, even ventured to criticize the
draughtsmanship of Titian in some well-known,
engravings, whereby they brought down upon
themselves the rebukes of the aged Perin del Vaga.
Ottavio was undoubtedly a brilliant and skilful
performer, since his decorations, exterior and in-
terior, of the Palazzo Doria (now Invrea) were so
much admired by Giulio Cesare Procaccino as to-
be compared by him with tlie work of Raphael.
Painting in oils, however, was not liis strong point,
as may be seen by his ' Archangel Raphael ' in the
church of S. Agostino at Savona. In his clothing
and personal habits he was excessively untidy and
slovenly. He died suddenly in 160-4 at Milan —
was found dead in his chair — having left, however^
according to Lomazzo, one pupil of some merit,
Cammillo Landriani. Among the many works
executed by him the following may be here
mentioned :

^Annunciation. {On the doort
of the organ.)

Milan. Ch.'ofSta. Maria ) .
degli Servi. j
„ Ch.ofS.Angelo\

(Chapel of the J-Life of the Virgin. (Fre-icoes,'^
Madonna) .

(Chapel of S.\
Gtrolamo). j

Ch. ofS. Jirareo)
(Chapel), i

Sta. Marta }
(Oratory), i

Life of that Sunt.

' Christ.
The Four Doctors.
The Four Evauge lists.

St. John the Baptist.

Prophets.

God the Father.

•The Adoration of the Magi.

The Marriage .^nd A^sumptioik

of the Virgin.
St. Augustine on horsrb« fc

chastising heretics.
The Virgin, St. John, and-

Angels.

The Last Supper.

La Madonna della Misericordia
with worshippers.

R. H, H. C.

SEMITECOLO, Niccol6, flourished at Venice in
the second half of the 14th century. His earliest
known painting is a ' Coronation of the Virgin,*
dated 1351, and now in the Accadcmia at Venice..
In the same collection there are fourteen small
panels by him, which have been supplemented by
a ' Coronation of the Virgin,' by one Stefano, (who
s\gnsh\msf:\i Stefan PUhanusSanctmAgnetispinxitf
M.CCC.LXXX.) to form an altar-piece. In 1367

Pavia.
Savonsi.

Certosa \

(Refectory).]

PAINTERS AND ENGRAVERS.

lie painted an akar-piece with scenes from the life
of St. Sebastian, which now hangs in separate
pieces in the Chapter Library of the Duomo at
Padua. Seraitecolo is known to have h'ved until
1400, and it has been suggested that he was identical
with Nicco!6 Paradisi {q. v.), so called from his
residing near the bridge of that name at Venice.

SEMOLEI, II. See Fraxco, Giovan:-i Baitista.

SEMPELIDS, D. G, a German engraver, wlio
flourished about the year 1530. He copied some
of Albrecht Dtirers prints with great success.
Among his best imitations is the ' Descent into
Hell,' from the I.i. . of Christ. It bears tlie date
of the original, 1512, as well as the year in which
it was engraved, 1580.

SEMPER, G., a celebrated architect, boru at
Hamburg in 1804, and a student at Munich and in
Paris. He eventually became Professor in the
Academy at Dresden, and Professor of Architec-
ture at Zurich. As a decorator he took a very
high position, and his work can be seen in the
Museum at Dresden. In arcliitectunl work his
greatest success was the theatre in the same city.
He became implicated in political troubles, and
had to leave Germany very suddenly, and took up
his abode in England, where he became an As-
sociate of the Ruyal Academy. The latter part of
his life was spent at Zurich, where he had gone to
live in 1856. He travelled a good deal in Italy,
and died rather suddenly at Rome in May 1879.

SEN.WE, JACOPns Albertus, born at Loo in
1758, was a painter of Flemish country feasts, in
the style of Teniers. He painted the atelier of
Rembrandt, with portraits of a great number of
artists, contemporaries of that master. This he
presented to the Academy at Ypres, and was in
return made an honorary director. Tlie church of
Loo has a ' Seven Works of ilercy,' by him. He
died in Paiis in 1829.

SENEFELDER, Aloys, the inventor of the art
of lithography, was bom at Prague in 1771, but in
early life went to Munich with his father, who was an
actor. He was sent to the university of Ingolstadt,
to study jurisprudence, but his inclination led him
rather to the stage and the drama, in which, how-
ever, he was unsuccessful. By his first piece. Die
Madchenkenner, he cleared fifty florins ; hia second
did not pay expenses. Bj- the death of his father
hia means became straitened, and he could not afford
the cost of printing his compositions ; he therefore
endeavoured to devise some other method of multi-
plication. He made experiments in engraving,
etching, and stereot3-ping, and to avoid the expense
of copper plates, made use of a fine piece of Kel-
heim stone, and tried to print from it, but at first
without much success. One day, however, when he
had prepared a stone for etching, his mother entered
the room and requested him to write a li.st of the
linen she was sending to be washed. He had not
even a slip of paper for the purpose, having used all
in taking proof impressions, and even his inkstand
was dry. As the matter was urgent, he wrote the
list on the prepared stone with the etching ground
he had discovered for himself, intending to copy it
at leisure. Afterwards, when about to clean off the
writing, it occurred to him that by the application
of nitric acid and water he might bite the stone so
as to leave the writing in sufficient relief to print
from. The experiment succeeded, and as soon as
he had brought his new discovery into a practical
form, he applied himself to making it a commercial
success. The mere use of stone as a substitute for

copper had been known before, but Senefelder's
experiments led to the discovery of chemical litho-
graphy in its full sense. Senefelder publislied an
account of it in 1818, which was translated into
French and English, and made the process generally
known throughout Europe. His own practice waa
confined to Germany, where he arrived at a com-
petence, and devoted himself to perfecting the art.
He died at .Munich in 1834. His brothers, Clemess,
George, Theobald, and Karl, and Heisbich his
son, all practised as lithographers.

SENELLY, , an Austrian painter of tho

19th century, the first part of whose career waa
spent in great privation and misery. His early
struggles seem to have affected his br.iin, for, ia
1873, after he had obtained some recognition, ha
became insane, and died in 1875.

SENEX, John, an English engraver, who en-
graved the plates for the London Almanacks, from
the year 1717 to 1727, with the exception of that
for the year 1723, which was by John Clarke. He
died in 1741.

SEXEZCOURT, Jl'les de, painter, w.is bom at
Saint Omer in 1816. In 1841 he settled at Bras-
sels, where he practised portrait and genre painting.
He died in 1866.

SENFF, Adolf, a German painter, born at Hall6
towards the close of the 18th century, first studied
theology, but in 1810 decided to devote himself to
art, and began to work in pastel under Kiigelgen
at Dresden. He afterwards went to Rome, where
he copied many of Raphael's masterpieces for the
'Rafael-Saal' atSanssouci. He painted a 'JIadonna
Enthroned,' and a ' Christ and the Canaanitish
Woman,' but was more successful with fmit and
flowers. His brother Karl Augdst also practised
as a painter and engraver at Dorpat.

SENTIES, Pierre Asthasie Thi^odore, painter,
bom in Paris, February 23, 1801. He was a pupil of
Gros and Regnault. He painted numerous portraits,
Bome of which appeared at the Salon, but his best
work is a ' Resurrection ' in the cathedral of Valence.

SEPP, Jan Christiaan, bom at Amsterdam in
1739, waa a painter of insects. He published 'The
Natural History of the Insects of Holland,' in six
volumes quarto, illustrated with some two hundred
and fifty coloured plates, in which he was assisted
by his son, and some other works of the same class.
Sepp waa a member of the society Felix Meritis
at Amsterdam, where he died in 1811.

SEPPEZZINO, Francesco, a Genoese historical
painter, of whom little is known except that he waa
born in 15.30, and studied under Luca Cambiasi and
Giambattista Castilli, and died in 1579.

SEPTIMUS, Hercules. See Setti.

SEPULVEDA, Mateo Nunez de, a Spanish
painter. In 1640 Philip IV. appointed him painter
and gilder to the Spanish Navy, partly in return
for hia contribution of 500 ducats towards the
expenses of the war in which his Majesty waa
engaged. Hia patent, among other privileges,
gave him the sole right of painting all banners,
standards, &o., required in the navy. He is also
said to have painted in fresco.

SEQUEIRA, DoMiNOOS Antonio de, a Portuguese
historical painter and designer, was bom at Lisbon
in 1768. He gave early proofs of talent, and was
sent to Rome in 1788. to complete his studies. He
became a scholar of Antonio Cavallucci, and after
apendingsome years in Italy he returned to Portugal,
where hia works were soon in great request. Se-
queira had much versatility, and strange alorif s are

A BIOGRAPHICAL DICTIONARY OF

tolil of the eccentric methods of which he sometimes
made use. In 1823 Sequeira visited Paris to exliibit
his ' Last Momeots of the Poet Camoens ; ' after
which lie went to Rome and became devout. He
died at Rome in 1837.

SEQUENOT, probably a native of France, flour-
ished about the year 1671. He engraved some
frontispieces and other plates for books.

SEHAFIN, Peiiuo, surnamed EL GiUEGO, a
painter of Barcelona, who, in conjunction with
Pedro Pablo, painted the doors of tlie organ of the
cathedral of Tarragona.

SERAFINL See Dici Sebafini.

SERAFINl. Se« Modena, Barnaba pa (Sup-
plement).

SER.\NGELI, GlOACCHiNO, painter, was born at
Milan in 1778. He studied under Uavid, in Paris,
cxhil)iting at the Salon in the early years of the
19tli century. His best works were, a 'Roman
Charity,' which excited much attention by its dex-
terous treatment of an effect of light, and a large
'Najioleon I. addressing the Delegates of the Army.'
On his return to Italy he decorated the Villa Som-
mariva on Lake Como with frescoes from the legend
of Psyche. He finally settled at Milan, where he
became Professor to tlie Academj-.

SEREGNO, Giovanni Angelo and Giovanni
An'J'oxio da, two painters who lived and worked
at Milan in the last quarter of the 15th and the
first quarter of the IGth century. They undertook
to paint the shutters of the or^^an in the Cathedral,
and were paid for some part of the work in 1488,
the final payment being made to Giovanni Angelo
alone in 1491. Giovanni Antonio is mentioned in
connection with BoltrafBo in 1503, and is spoken
of as an admirable painter. Their surname appears
to have been Mirofolis ; Giovanni Angelo is so
called in a list of pa3inents made to him in October
1486 for painting a figure of tlie Blessed Virgin
and for other work. They were still living at
Milan in 1524.

SERENAKI, Gaspabo, a native of Palermo,
flourished about the year 1750. He went to Rome,
and frequented the school of Sebastiano Conca.
On his return to Sicily he distinguished himself as
a painter of history, both in oil and fresco. His
jirincipal works at Palermo are the cupola of the
Jesuits' church and an altar-piece in the monastery
church of La Carita.

SERGENT, Antoine Louis Franqois, engraver,
born at Chartres in 1751, studied under S. Aubin,
and engraved several excellent plates. When the
French Revolution broke out he became president of
tlie Ward of St. Jacques, and secretary to the Jacobin
Club. He was the means of saving many people
from the guillotine, and of performing many
kindly deeds. He married, in 1794, Emira Mar-
cEAU, the sister of General Marceau, and the
divorced wife of Champion de Sernet. Slie en-
graved several plates from drawings by her hus-
band. For two years he was an exile in Swit-
zerland, but on his return to Paris was active in
artistic matters. After the 18th of Brumaire he
went to Venice, where he published ' The Costumes
of tlie People, Ancient and Modern,' in twenty-one
parts. He died, blind, at Nice, in 1817.

SERGENT, L. P., a French artist, bom at Massy
in 1849. He was a pupil of Pils and Laurens, and
exhibited for many years at the Salon. He ob-
tained second-class medals in 1889 and 1890, and
a first-class bronze medal in 1900. In 1904 lie
had two fine pictures at the Salon, one illustrating

a scene at the battle of Waterloo, and the other
the battle of Wagram. For these works he would
probably have obtained a high distinction had he
lived. He died in June 1904, after a long illness,
and will be remembered by the large number of
paintings he executed of military subjects.

SEUI, RobERT DE, painter and engraver, bom in
Paris about 1680, was a pupil of Gazes, and then
studied in Rome. He became painter to Cardinal
de Rohan, and painted scenes from the life of the
Virgin for the Capuchin Church of the Marais in
Paris, and the ' Martyrdom of St. Fidelis ' for the
Capuchin Church in the Rue St. Honore. He exe-
cuted several etchings after Raphael, Bagnacavallo,
&.C. He died about 1739.

SERIOUS. See Soye, Philippe de.

SEIfIN, Jan, a painter of historical subjects and
portraits, was born at Ghent in 1678. He has
been confounded by Balkema with his father,
N. Serin, an historical painter of the same place,
by whom there is a picture in the church of St.
Martin at Tournay, ' St. Martin dividing Ids Cloak
with a Beggar.' The elder Serin may have been
the scholar of Erasmus Quellin, and the younger a
scholar of Jan Erasmus, his son. Several altar-
pieces in the churches at Ghent are attributed to
Jan Serin, but he was more celebrated as a portrait
painter, which profession he exercised at the Hague.
In 1748, when he had reached his seventieth year,
he painted the portrait of the Marquis de F6n61on,
ambassador at the Hague, and that of the Mar-
chioness. The precise year of his death, and that
of his father, is not known. His son, Jan Serin
the younger, was also a painter, and is known to
have practised from 1740 to 1748.

SERJIEI, Cesare, II cavaliere, painter, born in
1510, at Orvieto, whence he went to Assisi, where
he painted frescoes and oil pictures. He painted
besides, pictures of ceremonies, markets, &c., in-
troducing numbers of small figures. He died at
Assisi in 1600.

SERMONETA. See Siciolante.

SERNE, Adriaan, born at Haarlem in 1773,
painted landscapes with figures, alleys of trees,
and views of towns, and also etched views of the
neighbourhood of Haarlem. He was director of
the Academy of Zwolle, where he died in 1847.

SERRA, MiGDEL, (Serre, Serres,) was born in
Catalonia about the year 1653. At the age of
eight years he absconded from his mother's house,
and managed to get to Marseilles, where he ob-
tained instruction fjoiii an indifferent painter, and
afterwards went to Rome. At the age of seven-
teen he returned to Marseilles, and painted a 'St.
Peter Martyr ' for the church of the Dominicans
of that city, which at once established his reputa-
tion. He was soon fully employed for the churches
and for private patrons. He sent a picture to
Paris which won him election as a member of
the Academy, and an appointment as painter to
the king. Having arrived at great honour and
riches, he devoted the whole of his wealth to
the succour of the poor of Marseilles during the
plague of 1721. However, when the plague ceased,
he returned with renewed ardour to his profession,
and painted scenes which he had witnessed during
the epidemic. He worked for the convent of St
Claire de Marseilles, for the Madeleine in the same
city, and for the Carmelites of Aix. His easel
pictures were also in great request, and are numer-
ous. There are about twenty in the gallery of Mar-
seilles. He died at Marseilles in 1728.

PAINTERS AND ENGRAVERS.

SERRES, Dojiixie, the younger, -n-ater-colonr
draughtsman, was the younger son of Serres the
elder. He is best known as a teacher of drawing,
but exhibited landscapes at the Royal Academy
from 1783 to 1787. After many years of labour in
his profession, his mind became clouded by a settled
despondency, and he entirely lost his connection as
a teacher. For the last few years of his life he was
supported by his brother, John Thomas Serres.

SERRES, Do3iiNiQtJE, bom at Auch in Gascony
in 1722. His parents designed him for the Church,
but he ran away and went to sen, and in time be-
came master of a trading vessel, which was captured
by the English in 1752, and he himself brought to
England. He then applied himself to the culti-
vation of a native bent towards nrt, and soon ac-
quired a reputation as a painter of sea-pieces and
landscapes. When the Royal Academy was insti-
tuted, he was ciiosen a member, and some years
afterwards was appointed marine painter to George
III. In 1792 he became librarian to the Royal
Academy. One of his import,<int works was a
picture of Lord Howe's victory over the combined
Fleets of France and Spain, ofi Gibraltar, in 1782.
He was a large contributor to the exhibitions at the
Royal Academy for several years after its institu-
tion. During the first ten years he exhibited about
fort}' pictures, all of English naval actions. Many
of them are at Hampton Court and in Greenwich
Hospital. He died in London in 179.3.

SERRES, John Thomas, marine painter, born in
London in 1759, was a pupil of his father Domi-
nique. He was drawing-master at the naval school
at Chelsea. In 1790 he visited France and Italy.
In 1793 he became marine painter to the king and
drauglitsman to the admiralty. In 1801 he pub-
lished ' The little Sea Torch for Coasting Ships,'
with coloured plates, and in 1825 his ' Liber Nauti-
CU9,' a handbook for marine painters. He was
ruined by the depravity and extravagance of his
wife, who called herself Princess of Cumberland.
He became ban'urupt and died in the Rules of the
King's Bench Prison in 1825.

SERRES, Olive, landscape painter, born in
1772, was the wife of John Thomas Serres, and
claimed to be the daughter of Henry Frederick,
Duke of Cumberland. Her legal father was a house
painter at Warwick, named Wilton. Her preten-
sions were brought before the House of Commons in
1822. She exhibited landscapes at the Academy and
the British Institution. She d'ied November 21, 1834.

SERRUR, Hexei AncusTE Calixte Cesar,
paintir, was born at Lambersart, near Lille, in
1794. He studied first at Lille, but in 1815 was
granted a pension by the town to enable him to
complete his education in Paris. He there entered
Regnault'a studio. He exhibited at the Salon from
1819 to 1852, and died in Paris in 1865. Works :
Arras. lluseum. BrunhiWa.

Cathedral. St. \Yaast healing the BliuJ.
Bordeaui Museum. Portrait of Oiarles X.

Cimbrai. „ Death of Mazet.

Douai. „ Razzia in Africa.

Lille. ., Three Scenes from Homer.

„ Chapel of the ) .j.^^ Presentation in the Temple.

Sacred Heart, j
Eennes. Church of St. » ^^^^^^ burying a Hebrew.

Gennatn.} '

Valenciennes. Museum. The Shipwreck of Camoens.
Versailles. „ Several Official Portraits and

Battle-pieces.

SERVAES, Hermas, a Flemish painter, born
probably at Antwerp in 1601. He was a pupil

of Van Dyck, was a member of the Guild of St.
Luke in 1650, and was still living in 16G0.

SERVANDONY, Jeak Nicholas, an eminent
painter of theatrical scenery and architectural decor-
ations, was bom at Lyons in 1695, and received
his instraction in art at Piacenza from Paolo Panini,
and at Rome under G. G. RossL His name is often
Italianized and his birth put at Florence, but the
trath seems to be as here stated. After a sojourn in
Portugal, where he was much employed on decor-
ations for ^uhVic fetes, he settled in Paris, where he
was received with enthusiasm, and received the
honour of knighthood. In 1749 he was invited to
London, where he found a wife, proceeding after-
wards to Dresden, Vienna, and Wiirtemberg. From
1737 to 1765 he was a steady contributor to the
Salon. In the Louvre there is a picture of ancient
ruins by him, painted in the manner of P. Panini.
He died in Paris in 1766.

SERVIN, AllEDfiE Elie, painter, was bom in
Paris ,in 1829. He was a pupil of Drolling, entered
tlie Ecole des Beaux Arts in 1848, and gained
several medals at the Salon. His subjects were
chiefly landscapes and animals ; he occasionally
painted genre pictures, and etched a few plates,
among them one after his own picture, ' Le Puita
de mon Charcutier.' His ' Moulin Bale ' is in the
Marseilles Museum, and there are landscapes by him
in the Museums of ilans and Melun. He died in 1886.

SERVlfeRES, Eugenie, Madame, (?iee Ciiahen,)
was born in France in 1786. She was a pupil of
Lethiere, was premiated in 1808 and 1817, and
exhibited occasionally at the Salon in the early
years of the 19th century. Her ' Inez de Castro '
is in the Trianon.

SERWOUTER, Pieter, a Flemish engraver,
born at Antwerp about the year 1574. He was a
contemporary with J. van Londcrseel, to whose
style his bears some resemblance. Among other
prints by him are the following :

A set of twelve Hunts ; after D. Vinclcelooms.

The Fall of our first Parents ; after the sanif.

A Dutch Merrymaking; after the sawe.

Samson killing the Lion ; after the same.

David kilhng the Bear ; after the same.
He marked his plates \vith a cipher composed of a

P, an S, and a "W, thus, 5P."\V-

SESTO, Cesaee da, called Cesarb Milanese,
was born at Sesto Calende about 1480. He is
generally regarded as a disciple of Leonardo da
Vinci, but late in life he went to Rome and became
affected by the example of Raphael. He alsa
visited Naples and Messina, where he painted the
' Adoration of the Magi,' now in the Naples Gallery.
But the details of his career are little known, and
there is much uncertainty as to his life. His work
is very eclectic, showing traces not only of the
influence of Leonardo and Raphael but also of
Dosso Dossi. It is always refined, and his land-
scapes are decorative from the effect of branching
trees. The 'Judith,' at Vienna ; the 'Altar-piece,'
in Sta. Trinita della Cava, near Salerno, long given
to Sabbatini, are also by Cesare. He died at Milan
about 1521. Other works by him :
Madrid. Museum. Virgin and Child.

Milan. Scotti Coll. Baptism of Christ.

„ Brera. A Madonna.

„ Casa Melzi. Altar-piece in several compart-

ments, St. Koch in the centre.
Naples. Museum. Adoration of the Kings.

Richmond. •Si>i='. Cooi^s | virgin enthroned.

A BIOGRAPHICAL DICTIONARY OF

Turin. Gallery. A Madonna.

Venice. Manfrini Gall. Two Madonnas.

SESTRI. See Travi.

SETCHELL, Sarah, was born in 1813. She
became a pleasing painter of landscapes, portraits,
and genre subjects in water-colour. Her first ex-
hibit was 'Fanny,' at the Koyal Academy in 1831.
She showed in all nine pictures at the Academy,
fifteen at Suffolk Street, and thirty-four at the New
Water-Colour Society, of which she became a
member in 1842. At the Gallery of the British
Artists in 1840 she exhibited 'A Scene from
Howitt's "Rural Life in En-land."' This was
engraved by S. Be'iliu in 1843, and published under
the title 'The Momentous Question,' attaining
wide popularity. Among other typical paintings
may be mentioned: 'Jesse and Colin' (1850);
'Sketch at Ili{;hgate' and 'Sketch o:; Harrow
Weald' (1853): 'Lake of Zurich ' and 'Lady in
White Satin ' (1806). Miss Setchell ceased to
exhibit in 18G7, and died on January 8, 1894, at
her residence at Sudbury, Harrow. 11. H.

SETLEZKY, Balthazar Sigismu.nd, a German
engraver, of Polish origin, who was born at Augs-
burg in 1G05. He died in 1770. He engraved
after Watteau, J. M. Roos, and II. Roos.

SETTELLA, Manfred, painter and mechanician,
born at Milan in IGOO, was Director of the
Academy in bis native city, and died in 1680.

SETTI, Ercole, (or Septimus, Hercules,) an
Italian painter and engraver, who flourished about
the year 1560. He was a native of Modena, and
painted altar-pieces for the churches in that city.
He etched a few pktes and was still at work in
1593.

SEUBERT, JoHANN Friedrich, bom at Stutt-
gart in 1780, learned art from Ueideloff, and
painted decorations, portraits, and flowers in
water-colours. He became professor to the Kath-
arinenstift in 1838. He died at Stuttgart in 1859.

SEUPEL, J. A., an engraver of portraits, which
lie frequently drew from the life, was born at
Strasburg in 16G0. His plates are neatly executed
with the graver. In several plates he imitated the
efl'ect of mezzotint with tlie burin ; this, perhaps,
led him to scrape a ' View of Strasburg by Night.'
He (lied at Strasburg in 1714.

SEURAT, Georges Pikrre, French painter;
born December '2, 1859, in Paris ; became a student
at the ficole des Beaux Arts ; made a special study
of Delacroix's frescoes in the St. Sulpice ; painted
landscapes in the Impressionist style, scenes chosen
in Normandy and at Asniferes ; also portraits ; his
'Cirque,' 'Poseuse,' and 'Dinianche k la grande
Jatte,' are among his best-known works. He died
in Paris, in March 1891.

SEUTER. See Saiter.

SfcVE, Gilbert de, was born in Paris in 1615.
It is not known by whom he was instructed, but he
was a painter of ability, and a foundation member
of the old maitrise. Several of his portraits of dis-
tinguished persons were engraved by Edelinck,
Van Schuppen, Masson, and other eminent French
engravers. His own portrait, by Nattier, is at
Versailles. He died in Paris in 1698.

SfeVE, Pierre de, brother of Gilbert de Seve,
was born at Moulins in 1623. He was trained by
his brother, and painted similar subjects. He died
in 1695.

SEVERING. See San Severing.

SEVERN, JosEPU, painter, bom about 1795. He
70

settled in Rome, where he worked for many years,
frequently sending a picture to the Royal Academy
Exhibitions in England between 1827 and 1867.
He was the friend of the poet Keats, took him to
Italy, and tended him during his last illness in
1821. Severn returned to England in 1840, and
won a premium of £100 at the Westminster Hall
competition of 1843. In '44, '45, and '47, he wag
less successful. He was again in Rome in 1861,
and held the post of British Consul in that city
until 1872, when he retired on a pension. He died
in Rome, August 3, 1879, and was buried there,
but in 1882 his body was removed from its first
resting-place to a grave beside that of Keats in
the Protestant cemetery next the pyramid of Caius
Sestius. The following works by him are at South
Kensington :

Scene from ' Eloisa and Abelard.'

Mary Stuart at Loch Leven.

Ariel, ou a Bat.

Nympli gathering Honeysuckle.

Portrait of Keats. {Nat. Fort. Gallery.)

SEVERN, Miss. See Newton, Mrs. Charles.
SEVEliO da BOLOGNA, an early Italian painter,
practising about 1400. He was a pupil of Lippo
di Dalmasio.

SEVESTRE, Jdles Marie, French painter;

! born at Breteuil (Eure), September IG, 1820;

I became a pupil of Corot and of Leon Cogniet ;
made hiscZe'tuiatthe Salon of 18G4 with 'Susanna' ;

; paiiited mythological subjects, such as 'Lida,' 'La

I Toilette de Venus,' ' Nymphe Chasseresse,' &c.

I Obtained an honourable mention in 1883 ; died in

I Paris, October 3, 1901.

SEVILLA RO.}lERO Y ESCALANTE, Juan de,
born at Granada in 1027, was a pupil of one Andres
Alonso Argtielles, and of Pedro de Moya. He
painted several pictures for the churches of the
Carmelite and Augustine friars at Granada, a large
' Last Supper ' for the refectory of the Jesuits, and
others for the monastery of St. Jerome. An ' En-
tombment' in the Dresden Gallery is probably his
work. He died at Granada in 1695.

SEVIN, Jean, a Belgian architectural and
decoiative painter, was painting in 1750.

SEVIN, Pierre Paul, painter, born at Tournon,
France, about 1650. He settled at Lyons, where he
became a portrait painter of some repute. Several
engravings were made after his designs, represent-
ing events of Louis XIV.' s reign. They bear dates
from 1685 to 1701. Some of his portraits were
also engraved, among them one of Mdile. de la
Valliere. In the Toulouse Museum there is an
' Alexander and Diogenes ' by him. He died at
Rome in 10)76.

SEYDELMANN, Apollonie, of the de Forgue
family, wife of J. C. Seydelmaim, was born at
Venice in 1767, or Trieste in 1768. She obtained a
great reputation for her small copies in sepia of
the works of Raphael, Correggio, Guido, Cantarini,
Cignani, Domenichino, Carlo Dolci, and others.
She also excelled in miniature painting. In 1789
she accompanied her husband to Italy, and assisted
him in his larger works. She was a member of
the Dresden Academy. She died at Dresden in
1840.

SEYDELMANN, Jakob Crescentius, was bom
at Dresden in 1760. He received his instruction
from Bernardo Bellotti and Casanova. Subse-
quently he went to Rome under the patronage of
the Elector, and formed a friendship with Rafael
Mengs, under whose advice he made m.iny draw-

PAINTEnS AND ENGRAVERS.

irigs from tlie antique and after tlie great Italians.
ThfBe be finished in sepia in a manner entirely his
own, and they sold readily to English visitors. On
his return liome he was appointed Professor of
Drawing to the Academy of Dresden, and he was
elected a member of several foreign Academies. In
1788 he commenced copying the principal pictures
in the Dresden Gallery, for the engravers. Later
in life he paid more visits to Rome, and was for a
time at St. Petersburg. Several portraits and alle-
gories bySeydehnann have been engraved. There
is also an etching by him, after J. F. Bloenien, of
.a figure bathing in a cavern. His vogue lasted
until his death, which occurred at Dresden in
1829.
SEYFFARTH, Louise. See Shaiipe.
SEYFFEK, AaGL'ST, painter and engraver, born
at Lauffen on the Neckar in 1774, received his
first education in Stuttgart, and then went to
Vienna, where he made a name by six landscape
etchings. lie afterwards engraved some views of
the neighbourhoods of Stuttgart and Tiibingen in
the style of Woullett, and became Keeper of En-
gravings in Stiittgart. He died in 1845.

SEYFFERT, Johann Gotthold, engraver, born
at Dresden in 17G0, was instructed in drawing by
Oisanova, and in engraving by the elder Stblzel.
He was employed by Uofrath Becker in engraving
some of the plates for ' The Augusteum.' He was
a master in the Dresden Academy. He died in
1824.

SEYMOUR, Colonel, amateur, a successful
painter of miniatures in the reign of Queen Anne.

SEYMOUR, Edward, painted portraits in Eng-
land in the tirst part of the 18th century, in the
manner of Kneller. lie died in 1757, and was
buried in Twickenham clmrchyard.

SEYMOUR, James, born in London in 1702, the
only son of a banker, who was a great lover of art,
drew well himself, and lived in habits of intimacy
with Sir Peter Lely and other painters of his time.
He excelled in sketching horses, but he was a weak
colourist, and few of his works are known. Houston
and Burford engraved after him. He died in
London in 1752.

SEYMOUR, Robert, caricaturist, born in London
in 1800, served an apprenticeship to a Spitalfields
silk designer in his early years. He afterwards
turned to a higher walk in art. and painted at first
historical pictures and portraits. His attention then
gradually turned to the illustration of books, which
were mostly comic. Among these were ' The Odd
Volume,' ' The Comic Magazine,' ' Figaro in Lon-
don,' ' Vagaries in quest of the wild and won-
derful,' ' The Book of Christmas,' ' The Looking-
glass,' 'The Schoolmaster abroad,' ' New Readings
of Old Authors,' and ' Humorous Sketches.' But
Seymour will be remembered as the first illustrator
of ' Pickwick,' and as the creator of the types of
Pickwick, Winkle, and Tupman, on which no suc-
cessor has contrived to improve. In 1836, how-
ever, when only a few numbers of ' Pickwick ' had
been published, he committed suicide.

SEZENIUS, Valentine, a German engraver,
who flourished about the year 1620. He engraved
some plates of ornaments and grotteschi, which he
usually marked with the initials V. S.

SG UAZELLA, Andrea, (or Ciiiazzei.la,) an Italian
painter of the 16th century, was a pupil of Andrea
del Sarto, whom he accompanied to France, re-
maining there after the return of his master to'
Italy, and painting various pictures at the Castle

of Semblan^ay fur Jacques de Beaune. (See De
Laborde, La Renaissance des Arts d, la Cour de
France.) These, however, all perished at the
destruction of the castle in 1793, save the altar-
piece of the chapel. On the death of Jacopo da
Pontormo, Sgiiazella succeeded to his possessions,
as nearest of kin, in 1557. A ' Deposition,' by
Sguazella, was engraved by Enea Vico, with certain
alterations, as a work of Raphael, and again, with
the true ascription, by A. Girardet for the Musce
Napoleon.

SHACKLETON, Joun, portrait painter, suc-
ceeded Kent as principal painter to George IT,
There are portraits by him of George II. and ids
Queen in Fishmongers' Hall, one of the King in
the Foundling Hospital, and another in the National
Portrait Gallery. In 1755 he was a member of
the committee which made a futile atttmpt to found
a Royal Academy. He died in 1767.

SHALDERS, Georqe, water-colour painter, born
about 1826, practised at Portsmouth, and occasion-
ally exhibited views of Surrey, Hampshire, and
Irish scenery at the Academy from 1848 onwards.
In 1865 he became a member of the Institute of
Painters in water-colours, and was a frequent ex-
hibitor of landscapes with cattle at their galleries.
The strain of excessive work brought on an attack
of paralysis, and he died in 1873, after a few days'
illness, aged 47.

SHARP, Michael, portrait and subject painter,
born in London, was a pupil of Sir W. Beechey,
and studied in the Academy Schools. From 1801
to 1818 he exhibited at the Academy portraits and
portrait groups, but afterwards he confined himself
to subject pictures. There is a portrait of Miss
Duncan, in 'Tlie Honey-Moon,' by him, at South
Kensington. He died at Boulogne in 1840.

SHARP, William, one of the most celebrated
of English line engravers, was born in 1749, in
London. The son of a gunmaker, he was ap-
prenticed to Barak Longniate, the engraver on
plate, who was also well skilled in heraldry. At
the expiration of his term of apprenticeship he
commenced business as a writing engraver. His
first essays when an apprentice had been on pub-
licans' pewter pots, and when his friends wished to
qualify this assertion by substituting silver tankards.
Sharp would insist on the humbler metal. One of
his first attempts in a higher branch was to make
a drawing of the old lion Hector, who had lived in
the Tower of London for thirty years, to engrave it
on a small quarto plate, and to expose the prints
for sale in his window. Recognition of his merit
was, however, more widely ditiused by his engrav-
ing, after Stothard's designs, several of the plateB
for the ' Novelist's Magazine.' He soon rose above
the crowd, and was employed on works of art of
the highest order, and proved himself the worthy
successor of Woollett, but did not, like him, extend
his practice to landscape, except in backgrounds.
His style is always masterly, not servilely borrowed
from any of his predecessors or contemporaries, but
formed by a judicious selection from the merits of
all who excelled. These he combined and blended
in a manner peculiarly his own, showing more of
the artist and less of the mechanic than any other
engraver of his time. His plate from West's
portrait of Koseiuszko relieved him from nn un-
pleasant and, at that time, dangerous predicament.
He was suspected of entertaining revolutionary
principles, and was examined before the Privy
Council. At one of these examinations, after

A BIOGRAPHICAL DICTIONARY OF

being long annoyed by questions which lie tlioiiglit
irrelevant, he deliberately pulled out of his poclcet
a subscription list for the portrait, handed it to
Pitt and Dundas, requesting them to have the
goodness to put tlieir names to it as subscribers,
and then to pass it to the other members of the
council. The audacity of the proposal, at such
a time, set them laughing, and he was soon
after liberated. Sharp was by no means qualified
to be a conspirator ; he was fond of good cheer,
and had a weakness for all sorts of mysticism ;
he believed in the divine mission of Ricliard
Brothers, in the immaculate conception of Jo-
hanna Southcote, and in the visions of Emmanuel
Swedenborg. The Imperial Academy of Vienna,
and the Royal Academy of Munich, each elected
hiiu an honorary member. Sharp died at Chiswick
in 1824, and was buried in the same churchyard as
Hogarth and De Loutherbourg. The following list
embraces his principal plates :

Portrait of John Buayan.

„ George WashiDgtou.

„ Samuel More ; after ll'cst.

His owu portrait ; after E. F. Joseph.

Portrait of tlie Earl of Arundel ; after Tan Dyek.
„ Lord Dimdas ; after Raeburn.

„ Kosciuszko ; after Stoikard and C. Andreas.

„ Dr. Edward Jenner; after Chobday.

The Magdalen ; after Guido.

Siege and Relief of Gibraltar ; two plates, after Copley.

Landing of Charles II. ; after H'est.

The Doctors of the Church ; after GuiJo.

Ecce Homo ; after the same.

Portrait of Dr. Jolin Hunter ; after Sir Joshua Reynolds.

The Holy Family ; after the same.

Lear in the Storm ; after tlie same.

The Witch of Eudor ; after U. West.

Alfred dividing his Loaf with a Pilgrim ; after the same.

The Children in the Wood ; after Henwell.

St. Cecilia ; after Domenichino.

The Sortie from Gibraltar ; after Trumbull.

Portrait of Tom Paine ; after Romney.

The Portrait of Mr. Boulton ; after Reynolds.

Interview of Charles I. with his children ; after Wood-
ford.

Boadicea haranguing the Britons ; after Stothard.

' Lucretia ' and ' St. Cecilia ' ; after Domenichino.

The three Marys and dead Christ; after An. Carracn,
from the picture at Castle Howard, but left unlinished.

Sharp completed Woollett's unfinished plate after West's
' Landing of Charles II.'

The British Museum contains a complete collection
of Sharp's engravings, in a variety of states.

SHARPE, Charles Kirkpatbick, was born at
Hoddam Castle, Dumfriessliire, on May 16, 1781.
He belonged to the old Scotch family of Jilar, and
was related to the royal race of Stewart. After
attending classes for atime at Edinburgh University
he entered Christ Church, Oxford, in 1798, and as
an undergraduate was famous for his water-colour
portraits of the Dean and his fellow-students. On
leaving Oxford he went to reside at Edinburgh,
and became one of the foremost antiquaries of
Scotland, with a keen appreciation of the best in
modern art. His work as a painter and etcher,
and also as a poet, was that of a cultured amateur,
but won considerable popularity. His first etching
was a striking caricature of Mme. de Stael, on the
occasion of her visit to Edinburgh in 1813. In
1819 he supplied an etching to Hogg's ' Witch of
Fife,' and in 1823 executed frontispieces for Laing's
'Fugitive Scottish Poetry,' and other works. In
1836 he etched frontispieces for the Abbotsford
Club publications of the ' Romances of Otuel ' and
' Roland and Vernagu,' and a vignette for a poem
72

called ' Flora's Fete.' ' Etchings by C. K. Sharpe,'
published at Edinburgh in 1869, contains a memoir
of the artist, with reproductions of several drawings-
and his twenty-seven etchings. In 1850 his liealtb
gave way, and in March 1851 he died after a brief
illness. M.H,

SHARPE, Charlotte, the eldest daughter of
William Sharpe the engraver, and sister of Louisa.
Sharpe, who married Professor Seyffarth. Froia
early days slie was very skilful at sketching
portraits, and in 1817, when she is believed to-
have been eighteen years old, slie commenced to
exhibit. She married soon afterwards a Captain
Morris, who turned out to be a most unsatisfactory
person, and the sustenance of herself and her two
cliildreu depended upon her efforts. She executed
a great many pencil portraits tinted with colour,
and a few water-colour landscapes, and sustained
her children till 1849, when she died.

SHARPE, Eliza, sister of Louisa and Charlotte-
Sharpe, practised as a water-colour painter, and
was elected a member of the Old Society in 1829.
She occasionally exhibited at the Academy and at
the Water-Colour Society's Galleries until 1872,
when she resigned. In her last years she found
employment chiefly as a copyist at the South
Kensington Museum. She died at Chelsea in
1874.

SH.'^RPE, LouLSA, born in London about 1800,
began her career with miniatures and portraits, and
then took to genre painting in water-colours. In
1829, the same year as her sister, she was elected
a member of the Society of Painters in Water-
Colours. In 1834 she married Dr. Seyfi"arth, of
Dresden, and settled in that city, where she died in
1843.

SHARPE, Mary Anne, a younger daughter of
William Sharpe the engraver, and sister of Louisa
Sharpe, who married Professor Seyffarth. She
exhibited several portraits at the Royal Academy
from 1820, and during a considerable part of lier
life lived with her sister Cliarlotte, and assisted her
very much in her struggles. Mary Anne Sharpe
became a member of the Society of British Artists
in 1830, and sent several of her pictures to the
gallery of tliat Society. She was " a gentle, refined,
retiring lady," says Miss Clayton, " beloved by all
who knew her, talented and industrious," but
neither she nor her sister Charlotte was as clever
as the second daughter, Louisa, whose work waa
particularly popular, and who was able to acquire
a small fortune of her own. Unfortunately, a
serious disease, believed to have been caucer,
attacked eacli of the members of the Sharpe
family, and occasioned their death under painful
circumstances. Mary Anne Sharpe died in 1867.

SHARPLES, Felix. This was the eldest son of
James Sharpies, born in 1794, and he is believed
to have died about 1814 in North Carolina, where
he lived after his father's decease. He was a
clever portrait painter, and was very popular
amongst the settlers in that colony, in many of
whose houses his portraits are to be found.

SHARPLES, James, a working blacksmith, bom
in 1825, the eldest of a very large family, and
brought up as a boiler-maker. From his earliest
recollection he employed himself in drawing and
in copying all the pictures upon which he could
lay his hands. When a lad he attended a draw-
ing-class held at Bury, and by dint of considerable
deprivation managed to purchase some books on
drawing and painting, to make his own palette

PAINTERS AND ENGRAVKliS.

and easel, and to buy some rough colours and
brushes, with which he set to work to paint a
picture wliich he called ' The Forge.' He made
four attempts at painting this picture, giving up
each successive attempt almost in despair, but at
length he produced it, and then determined to
engrave it. He taught himself the process of
steel engraving, and produced a remarkable work,
partially in line engraving, and partially in a species
of mezzotint, which created amongst his associates
very considerable astonishment. He painted several
portraits, not only of his companions, but of people
known in the place, and produced another large
composition entitled 'The Smithy.' He was never
able to give up !iis whole time to artistic work,
but only employed himself in the intervals of his
duties at the forge. He was a man who filled up
every spare moment of his time, travelled far and
wide in his immediate neighbourhood to see
pictures, and was always studying them with the
greatest assiduity. Under happier circumstances
and with greater encouragement lie might have
been an eminent artist, but the demands of
a family never enabled 1dm to relinquish his
work. He died in 189.3. His career came
under the notice of Dr. Smiles, who gave
considerable attention to it in his work entitled
'Self-Help.'

SHARPLES, James. During this artist's resid-
ence in America he spelt his name with the
addition of a second "s," thus, Sharpless, and is
always known in the States under this name. His
special fame consists in the fact that George
Washington sat to him in 1796, and the profile
portrait which he painted had so great a reputation
that very many copies of it were made by his wife
and daughter Rolinda, in order to supply the
demand for it. One of these copies is in the
National Portrait Gallery and is the work of Mrs.
Sharpies, and another example of her ability is to
be seen in the same Gallery, a portrait of Dr.
Priestley, drawn by her in pastels. Sharpies was
born in about 1750, and was first of all intended
for the Catholic priesthood, but, finding he had no
vocation, became an artist. He exhibited at the
Royal Academy in 1779 and 1785, but, marrying
a lady of French extraction who had relations in
America, he deternuned to leave England. The
vessel in which he travelled fell into the hands of
the French, and for a while he and his wife had to
spend some time near Cherbourg, but he reached
New York in 1796, and at once became popular
for his small portraits in pastel and his miniatures.
He died in New York in 1811, and his wife,
leaving one son, Felix, in America, returned to
England, where she died.

SHARPLES, Mrs., portrait painter, bom at
Binningham about 175.5, was the wife of an Eng-
lish artist practising in America. On his death
in 1811 she returned to England and exhibited
nuniatures of General Washington and Dr. Priestley
at the Academy. She afterwards settledat Bristol,
where she died in 1849. Mrs. Sliarples appears
to have succeeded to some money during the
latter part of her life, and also was herself a
clever artist, exhibiting many times at the Royal
Academy, and painting pictures in oil, water-
colour, and pastel of important people in the
neighbourhood of Bristol. She had to do with
the foundation of the Academy of Arts in that
city, and gave a considerable sum of money
towards it, besides bequeathing to it pictures by

herself, and examples of the work of her husband,
son, and daughter, and the remainder of her
estate. Her son James exhibited portraits occa-
sionally at the Academy. He practised at Bristol,
where he died in 1839.

SHARPLES, Rolinda, the daughter of James
Sharpies, born about 1797, soon after the family
had settled in New York. She was a member of
the Society of British Artists, a clever portrait
painter, and also produced some large subject
pictures having to do with local events at Bristol,
where she resided with her mother from 1812.
She died at Bristol in 1838.

SHAW, Hemrt, draughtsman and engraver, was
born in London in 1800, and assisted Britton with
his English cathedrals, supplying most of the
illustrations for Wells and Gloucester. His first
independent work was 'The Antiquities of Luton
Chapel,' which was foUovred by 'Details of Gothic
Architecture,' and a splendid series of illuminated
works, comprising 'Illuminated Ornaments,' 'Speci-
mens of Ancient Furniture,' ' Ancient Plate and
Furniture,' ' Dresses and Decorations of the Middle
Ages' (1839), 'The Eucyclopaidia of Ornament'
(1842), 'Alphabets, Numerals, and Devices of the
Middle Ages' (1845), 'Decorative Arts of the
Middle Ages' (1851), 'The Handbook of Mediseval
Alphabets,' ' Arms of the Colleges of Oxford '
(1855), 'Ornamental Tile Paintings' (1858). He
died in London in 1873.

SHAW, James, devoted himself chiefly to the
painting of horses. He built an addition to his
studio in Mortimer Street, Cavendish Square, for
their accommodation. He exhibited with the
Society of Artists in 1761, and died about 1772.

SHAW, James, portrait painter, was a native of
Wolverhampton, and was placed as a pupil with
Edward Penny. He painted portraits with somo
success, and towards the latter part of his life
resided in Charlotte Street, Fitzroy Square, wheio
he died about the year 1784.

SHAW, Joshua, a self-taught artist, was horn at
Bellingborough, in Lincolnshire, in 1776. He was
left an orphan at an early age, and apprenticed
to a country sign-painter. When his time expired
he set up for himself in the same trade at Man-
chester, and married. He afterwards turned to
other branches of art, and tried his hand on flower-
pieces, still-life, and landscape, chiefly copying
the old masters. He came to London and exhibited
some of his works, which attracted the attention
of dealers, who employed him to copy landscapes
with cattle by Berchem, Gainsborough, and others,
which were sold as originals. After a time he
emigrated to America, where he carried on the
same proceedings and also developed a geiuus for
mechanics. The date of his death is unknown.

SHAYER, William, was born at Southampton
in 1788. From 1824, the date of the foundation
of the Society of British Artists, to 1873, he was
a constant and most prolific contributor to their
exhibitions, exhibiting frequently seven or eight,
and occasionally twelve, works a year. He was
elected a member in 1862. He died at Shirley,
near Southampton, in 1879. His works mostly
represent cattle and sheep.

SHEE, Sir Martin Archer, born in Dublin in
1769, was the son of a merchant. He was taught
at the Drawing School, Dublin, but went to London
in 1788, and entered the Academy' in 1790. On
his arrival in London he made the acquaintance of
Reynolds through Burke's introduction, but for

A BIOGRAPHICAL DICTIONABX OF

a time suffered considerable privation through
his refusal to ask help from his relatives. He
soon, however, gained a footing by his portraits
of well-known actors, such as Lewis, Stephen
Kemble, Fawcett, Pope, and others. He also
painted several historical pictures, ' Jephthah's
Daughter,' 'Lavinia,' ' Belisarius,' 'Prospero and
Miranda.' He also painted portraits of the Duke
of Clarence, William IV., Queen Adelaide, Queen
Victoria, and Prince Albert. In 1796 he took a
large house in Golden Square, and married. Two
years later he moved to the house in Cavendish
Square in which he lived for the rest of his life.
In 1805 he published ' Rhymes on Art' ; in 1809 a
sequel called 'Elements of Art' ; and some years
later ' Alasco, a Tragedy,' which was only published
after it had been banished from the stage by
the Lord Cliamherlain. In 1829 he published an
anonymous novel, 'Old Court.' In 1798 he had
been elected an associate, and, in 1800, a mem-
ber of tlie Academy, and in 1830, on the death
of Liwrence, he was promoted to be President.
He died at Brighton in 1850. Shee's art was solid
nnd commonp'ace, but not without diL'.nity. One
of his best pictures is the portrait of Lewis, the
actor, now in the National Gallery.

SHEEPSHANKS, John. A few words should
be given to tliis great collector, (who by his gift
of two hundred and thirty-three pictures in oil,
and two hundred and eiijhty-nine drawings and
sketches, presented to the nalion in 1857, so
greatly enriched the national collection,) inasmuch
as his own water-colour sketches were distinctly
above the average. He was born at Leeds in
1787, and early developed a taste for picture col-
lecting. " He was of a retiring and unostentatious
disposition," so states a connection of his, and he
died in London, unmarried, on October 5, 1863.
His great gift was made with a view to the
education of students, and he desired it should be
open for study on Sundays as well as on week-
days, and did not fetter the collection otherwise
with any spec'al provisos. His own sketclies were
generally landscapes, but in some cases were
clever drawings in smaller size of the pictures he
presented to the nation. Other members of his
family were great picture collectors, and there are
several very fine works in tlie possession of liis
nephew, the Rev. T. Sheepshanks of Harrogate,
especially some celebrated portraits in pastel by
Russell.

SHEFFIELD, Ge.rge, painter, was born at
Wigton, Cumberland, on January 1, 1839. As a
child, however, he settled with his parents at
Warrington, and afterwards at Manchester. He
studied at the Manchester School of Art, and for
a time was occupied in making designs for calico-
printing. He soon devoted his whole time to
water-colour painting, and in 1865 left Manchester
for Bettws-y-Coed. Here he worked assiduously
at landscape, and in 1868 exhibited at the Royal
Institution Academy at Manchester a view of
Llyn Idwal, and of the Fairy Pool on the Conway.
He was still better represented in the following
year, and was elected an Associate of the Manchester
Academy, becoming a full member in 1871.
About this time he removed to Wdmslow, and
produced a long series of pictures and black-and-
white drawings. Among liis best sea-pieces may
be mentioned : ' The Passing Storm — Holland,' and
'The Scheldt' (1875); and ' Bunbeg Bar, Coast of
Donegal ' (1876). In his later days he worked in
74

oil as well, and his oil-painting ' A Hundred Years
Ago' (1890) was purchased by the Manchester
Corporation for the City Art Gallery. Sheffield
exhibited in London, between 1872 and 1890, six
landscapes at the Royal Academy. He died on
October 2, 1892. M. H.

SHELLEY, Samuel, painter and engraver, bom
in Whitcchapel about 1750. He received little
instruction in art, but greatly admiring Reynolds,
he copied much from him, and so acquired his ex-
cellent style, attaining in particular a tine harmony
and richness in colour. He became famous as a
painter of miniatures, dividing the patronage of
the day with Cosway and Engleheart. He also pro-
duced mythological and historical subjects in mini-
ature, such as ' Psyche,' ' Nymphs feeding Pe-
gasus,' 'Cupid turned Watchman,' 'Cupid solicits
new Wings,' ' Love's Complaint to Time,' all of
which were exhibited at the opening show of the
Water-Colour Society in 1805. He was one of the
original members of this society, which was planned
at his house. The few engravings he executed
were after his own works. He made some ill-drawn
designs fur book illustration. He died in London,
December 22, 1808. There are good examples of
his miniatures at South Kensington.

SHENTON, Henrv Chawner, engraver, boni at
Winchester in 1803, was among the best of the
English line engravers. He was a pupil of Geo.
Warren, whose daughter he married. lie died in
London in 1866, having become partially blind
some time before. His best plates are :

The Stray Kitten ; after Collins.

The Loan of a Bite ; after Mulreadt/.

Country Cousins ; after lied tf rave.

The Generosity of Richard Cceur de Lion ; after J,

Cross ; for the Loudon Art Union.
Some good plates for Fhideu's ' Annual of British Art,'

and the Annuals.

SHEPHARD,WiLUAM. portrait painter, practised
in the reign of Charles II. A portrait b^' him is
extant of Thomas Killigrew, the jester, with
his dog, engraved by Faithorne. He is said to
have died in Y'orkshire. Francis Barlow was his
pupil.

SHEPHEARD, George, water-colour painter,
studied in the schools of the Royal Academy, and
from 1811 to 1830 occasionally exhibited landscapes
from Surrey and Sussex. At South Kensington
there are by him: 'The Vale of Health, Hamp-
stead,' a 'Coast Scene,' and 'Roslin Chapel, near
Edinburgh.'

SHEPHEARD, George Wallwvn, water-colour
painter, the eldest son of George Shepheard, was
born in 1804. He travelled much in France, Ger-
many, and Italy, and exhibited many landscape
views and studies at the Academy from 1830 to
1851. He died in 1852. His brother, Lewis E.
Shepheard, also an artist, published sixteen of his
sketches, in 1873.

SHEPHERD, Georgl:, engraver, born about I
1760, practised in London. He produced many
plates, etched, and finished in mezzotint. Of these
the best are, the ' Attitudes ' of Lady Hamilton, in
fifteen plates, and ' The Fleecy Charge,' after Mor-
land. He also engraved & considerable immber of
portraits. I

SHEPHERD, George SiDNEY, water-colour 1
painter, exliibited at the Academy between 1831
and 1837, He became a member of the New So-
ciety of Painters in Water-Colours in 183.3, at about
which lime he exhibited chiefly metropolitan build-

PAINTERS AND EN'URAVERS.

iiiKs, 'Old Covent Garden Market,' 'Old London
Hiiilge,' &c. He made drawings for C.Clarke's
' Arcliitectura Ecclesiastica Londini,' and W. H.
Ireland's 'England's Topographer.' At South
Kensington tliere is by hiin, 'The Kilns, 1831,' a
good example of his work. His name disappears
after 1860.

SHEPHERD, Robert, supposed to have been a
pupil of David Loggan, was a native of England,
and flourished about the year 1G60. He engraved
a few laborious portraits in line, as well as reduced
copies of Gerard Auilran's plates after Le Brun's
' Battles of Alexander.'

SHEPHERD, Thomas Hosmer. Very little is
known of this topographical artist. He is believed
to have been born about 1824, and probably died
in 18-12. It is quite possible that he was a brother
of George Sydney Shepherd, but the fact has not
been determined definitely. As a young man he
was taken up by Mr. Frederick Grace, and era-
ployed all over London in making water-colour
sketches of old buildings, and many hundreds of
these drawings are now in the British Museum.
He illustrated several books on London, and in
many cases it is to his industry we owe the sole re-
cord of important buildings long since swept away.

SIIEPPARD, William, a somewhat mysterious
portrait painter, who is mainly known from the fact
that he painted several portraits of Thomas Killi-
grew the dramatist. One of these is at Woburn
Abbey, and it was engraved by Faithorne. He is
believed to have been born about 1602, and is said
to have died about 1600, somewhere in Italy, but
the only fact defiuitely known about him was that
in 1650 be was resident at Venice.

SHERIDAN, J., portrait painter, was born in
Kilkenny county. He studied for a time at the
Dublin Acadeni)', and then came to London. He
exhibited at the Academy from 1785 to 1789, but
Ids insufficient education prevented him from reach-
ing success. He died in London in 1790.

SHERIFF, Charles, (or Sheruiff,) a deaf and
dumb painter, who practised in Edinburgh in the
second half of the 18tli century. In 1773 he
came to London, where he was well received, and
took a place among the fashionable miniaturists of
the day. In 1796 he was established at Bath, where
he remained for some years. He afterwards went
to India and there exercised his profession with
great success, but returned and died at Bath.

SHERIFF, William Craig, a young Scotch
painter, born near Haddington, October 26, 1786.
He studied at the Trustees' Academy, Edinburgh,
and much was hoped from the great promise dis-
played in his first important work, 'The Escape of
Queen Mary from Lochleven.' While engaged on
this work he was seized with a rapid consumption.
He lived just long enough to finish his picture,
which was engraved by W. H. Lizars, and died
March 17, 1806, at the age of nineteen.

SHERLOCK, William, painter and engiaver,
1lie son of a prize-fighter, was bom at Dublin about
1738. He studied at the St. Martin's Lane Academy,
in London, and afterwards under Le Bas, in Paris.
He exhibited portraits both in oil and water-colours
with the Incorporated Society from 1764 to 1777,
and at the Academy from 1802 to 1806. He occa-
sionally painted miniatures, and was also known as
an engraver, both of landscapes and portraits, his
chief plates being a series of portrait heads for
ismollett's 'History of England.'

SHERLOCK, William P., painter and topo-

graphical draughtsman, was bom about 1780. He
imitated Richard Wilson, under whose name bis
pictures have been occasionally sold. From 1796
to 1810 he exhibited architectural view's at the
Royal Academy, and in 1811 he published a series
of soft-ground etchings, after Girtin, Payne, Powell,
and others. He also engraved some copies of rare
portrait plates, and drew many of the illustrations
for Dickinson's 'Antiquities of Nottinghamshire.'

SHERWIN, Charles, an engraver who worked
with his brother, J. K. Sherwin, and did a few
plates independently of him. He died in 1794,
and is said to have been about thirty years of age.

SHERWIN, John Keyse, an engraver, was born
in 1761, at Eastdean, in Sussex, where his father
was a cutter of wooden bolts for ships, a trade he
himself followed till he was about sixteen, when
his artistic gift attracted the attention of some
helpful friends. He was placed first under Astley
and then under Bartolozzi to learn drawing and
engraving. Under these masters he made rapid
progress, and in 1772 gained the gold medal of
the Royal Academy for a picture of ' Coriolanus
taking leave of his Family.' His name is to be
found in the exhibition catalogues of the Royal
Academy from 1774 to 1780, as an exhibitor of
chalk drawings, some copies, some originals;
among the latter was one dealing with the story
of Galatea from Ovid, and another described as
' Lconid;is taking leave of liis Family.' One of his
drawings attracted nmcli attention ; it was called
'The Joys of Life,' and was executed in red and
black clialk with colour washes, in the manner of
Bartolozzi. It is said that Bartolozzi employed
him on his plate of ' Clytie,' after Annibale Carracci,
but in his own larger works his style is more like
that of Woollett than that of Bartolozzi. His
plates from his own compositions are unpleasing,
but 'The finding of Moses,' in which the beautiful
Duchess of Devonshire represents the daughter
of Pharaoh, and several other ladies of rank and
fashion her attendants, had a great success in
itfl time. On the death of Woollett, Sherwin was
appointed engraver to the king. Owing to his
many follies he fell into poverty, and died at a
tavern which formerly stood where Swallow Street
joins Oxford Street, in 1790. Another account
says he died in the house of a printseller on Corn-
hill. He was buried at Hampstead. The followir.g
are his best plates :

William VM, Earl of Cliatham ; after n'iltun.

George Nugent Greuville Temple, Marquis of Bucking-
ham ; afur Gainsltormiyh.

Dr. Louth, Bishop of London ; after Pine.

Captain James Cook ; after Vance.

Sir Joshua Keynolds ; after a jju-ture hy himself.

William ■\Voollett, Engraver to the King.

Mrs. Siddons, iu the character of the Grecian Daughter.

The Holy Family; after Carlo Mariitli.

Christ bearing the Cross ; after the picture hy Guitlo in
the chapel of Magdalene College, Oxford.

Christ appearing to Magd.ilene ; after GuiJo's picture
at All Souls' College, O.rford.

The Holy Family; after Carlo Maratti.

The Fortune-teller ; after Reynolds.

The Death of Lord Kobert Manners ; after Stoihard

The Holy Family ; after Pietro da Cortona.

The Virgin and Child ; after N. Poussin.

Noli me Taugere ; after Mengs.

SHERWIN, William, an English engraver, born
at Wellington, in Shropshire, and flourished from
about 1670 to about 1711. It is not known by
whom he was taught. His plates are not numerous,
though he was active for many years. We have

A BIOGRAPHICAL DICTIONARY OF

several portraits by liim ; he also engraved some
frontispieces and other plates for books, from his
own designs, among wliich are the greater part of
the plates in the edition of 'God's Revenge against
Murder,' printed in 16G9. Sherwin had the unusual
honour of being named engraver to the king by
patent Among his portraits are the following:

Charles I. on horseback, with a view of Kichmond.

Oliver Cromwell.

Charles II. ; three plates, one a whole-length ; prefixed

to Ashinole's ' Order of the Garter.'
Catherine, his Queen.
Christopher, Duke of Albemarle.
William III. when Prince of Orange.
Henry, DuUe of Norfolk.
George I. when Elector of Hanover.
Kicharil Atkyns, Typograph. Reg.
Slingsby Bethell, Sheriff of London.
Henry Scndder, B.D., I'resbyt.
William Eamesay, M.D.
■William Bridge, A.M., I'resbyt.
■William Sermon, M.D. ; inscribed, W. Sherwin, ad

vivtiin, del. it sculp. 1671
John Gadbury, Astrol.
Judge Powell. 1711.

He also scraped a few indiflEereut mezzotints,
among them the first dated English plate in that
manner, a portrait of Charles II., inscribed GiuL
Sherwin, f edit, 1669.

SHIELS, \ViLLi.\M, painter, was bom in Ber-
n-ickshire iu 1785. He practised in Edinburgh,
but occasionally sent a picture to the Royal
Academy between 1813 to 185-2. Though best
known as an animal painter, he frequently painted
genre pictures of a simple domestic character,
'Interior of a Scotch Fisherman's Cottage,' 'Pre-
paring for a Visitor,' &c. He died in 1857.

SHIERCLIFFE, Edward, miniature painter,
practised at Bristol in the second half of the 18th
century. He was still living in 1776.

SHIPLEY, WiLLl.\M, painter, born in 1714, was
the originator of the Society of Arts. He was for a
time a drawing-master at Northampton, and after-
wards in London, where he became widely known
as founder of tlie St. Martin's Lane Academy, once
called 'Shipley's School.' There is a mezzotint by
Faber of a man blowing a liglited torch, which
beais the name of Shipley as the painter, but whether
by tliis artist or not is uncertain. He died at
JIaiichester, December 1803. He was the brother
of Dr. Jonathan Shipley, Bishop of St. Asaph's,
whose daugliter, Geobgina Shipley, was an ama-
teur portrait painter, and exhibited at the Academy
in 1781. She married Francis Hare Naylor, of
Hurstmonceaux, and died in 1806.

SHIPSTER, Robert, engraver, was a pupil of
Bartolozzi, and practised at the close of the 18th
century. He engraved West's 'Witch of Endor'
in line for Macklin's Bible.

SHORT, K., painter and draughtsman. He
practised about the middle of the 18th century.
Twelve pictures by him of naval engagements
between the French and tlie Spaniards, were en-
graved by Caroline Watson, and published by
Boydell.

SHURANLEW, Fies Szeroejewitsch, Russian
painter ; born at Saratof in 1836, where in 1855 he
bocame a pupil of the Art Academy. His most
famous picture, 'Before Marriage,' gained for him
the post of Professor at this Academy. He died
in November 1901.

SHUTE, JouK, painter and architect, was born
at Collumpton, in Devon. In 1563 he published a

work, 'The first and chief grounds of Architecture,*
embellished with numerous cuts and figures, and
dedicated to the Queen. From this dedication we
learn that the author had been for a time in the
service of the Duke of Northumberland, wlio had'
sent him into Italy in 1550, to study under the
best architects. He is mentioned by Richard Hey-
dook, in his translation of ' Lomazzo on Painting,'
published 1598, as one of the English limnera
prior to Uilliard, who practised "drawing by the
life in small models." He died in 1563.

SHUTER, Thomas, portrait painter, practised in
tlie early part of the 18th century. At Westwood
Park. Droitwich, there is a portrait by him, signed
ami dated 1725.

SIBELIUS, M., a Dutch engraver, born at
Amsterdam, who practised in London from about
the year 1775 to his death in 1785. He was
much employed by Sir Joseph Banks in botanical
work. He also engraved a few portraits, among
which are :

Cardinal Beaton ; engraved for Pennant's ' Scotland.'

Mrs. Eudd ; after Daniel Dodd.

SIBERECHTS, Jan, painter, born at Antwerp-
in 1627, was the sou of Jan Siberechts, a sculptor.
He was a pupil of Adriaen De Bye, and became
master of the Guild of St. Luke in 1648. The Duke
of Buckingham, passing through Handera after his
mission to Pari.-i, met Siberechts, carried him to
England, and employed him at Cliefden. He
painted landscapes in the style of Berchem and
Dujardin, and subject pictures, such as ' St. Francis
of Assisi,' and ' Mother watching by Sleeping Chil-
dren.' He also painted views of Chatsworth, Long-
leat, &c. He died in London in 1703. There is a
' Farmyard ' by him in tlie Brussels Museum.

SIBMACHER, Johann, heraldic draughtsman
and etcher, worked at Nuremberg daring the latter
part of the 16th, and the beginning of the 17th
century. His principal productions were etched
coats-of-arms and designs of lace. His ' New
Wappenbuch,' containing over three thousand
plates, was pnbhshed in 1605, and was followed
by a second part in 1609, and a complete new
edition in 1612. His great lace book, tlie 'Newes
Modelbuch,' was published in 1604, and has been
constantly reissued since in various editions. Be-
sides this he etched sets of the months, hunting-
scenes, soldiers, designs for goldsmiths, fruits,
topographical views, portraits, &c. He also sup-
plied illustrations for the Portraits of the first
twelve Roman Emperors, the Coins of the Roman
Euiperors, and other works by Hulsius. Several
hundreds of his plates are enumerated in Andresen's
' Deutsche Peintre-Graveur.' Sibmacher died at
Nuremberg in 1611. M. H.

SIBSON, Thomas, an English subject painter
and etcher, was bom in Slarch 1817 in Cumber-
land, where his father was a farmer. While still a
child he went with his family to Edinburgli, and
was destined to a mercantile career in the office of
his uncle. An irresistible love of art, in which he
was entirely self-taught, took him in 1838 to-
London, where he was engaged in book illustra-
tion. His first venture, a wor'ic in etching entitled
' Scenes of Life,' proved a failure, and was
abandoned. His following works were more
successful, among them being illustrations to 'A
Pinch of Snuff,' S. C. Hall's 'Book of Ballads,'
the Abbotsford edition of the Waverley Novels, ten
etchings with letterpress, 1838, entitled ' Sketches-
of Expeditions, from the Pickwick Club,' and

PAINTERS AND ENGRAVERS.

'Illustrations of " Master Humphrey's Clock,"'
«eventy-t\vo etcliings issued indcpemleiitly during
llie publication of Dickens' work, 1840-1. In Sep-
tember 1842 be went to Munich, where he worked
in the studio of Kaulbach. Sibson had an liereditary
tendency to consumption, and his ill-health wu's
aggravated by the intense cold of a winter at
Munich, necessitating his return to England. For
tlie sake of his healtli he then started on a voyage
to the Mediterranean, and died at Malta on
November 28, 1844. V ,i

SICARD, Louis AroLLlN'AiRE, a French painter
of flowers, fruit, and still-life, born at Lyons, April
25, 1807. He lived at Lyons, wlience he sent
occasional pictures to the Salon from 1857 onwards.
He died in 1881.

SICARP, Louis, (SlCARDY,) miniature and enamel
painter, liorn at Avignon in 1746, worked in Paris
and exhibited miniatures, oil portraits, and 'Pier-
rot' scenes at tlje Salon between 1791 and 1819.
Many of these latter were engraved. He died in
1825.

SICHELBEIN, Johann Friedricu, an obscure
painter and engraver, was born in 1648, at Mem-
niingen, Bavaria, where he died in 1719.

SICHEM, VAN. Much confusion exists as to the
life and works of the engravers of this name. No
less than four Sichems liave been enumerated as
engravers or draughtsmen on wood, namely, Chris-
topher the elder, Christopher the younger, Cornelis
and Carl. Nagler is of opinion that Cornelis
and Christopher the younger are identical. Some
writers have turned their name into Vichoin,
throiigh the V being the largest letter in the mono-
gram they used.

SICIIE.M, CiiltiSTOPHEU TAN, the elder, appears
to have been born, perhaps at Delft, about the
middle of the 10th century, and seems to have
practised at Basle, Strasburg, and Augsburg. A
book illustrated with his cuts, ' Die 13 Orte der
loblichen Eidgenossenschaft,' was published at Basle
in 1573. The 180 cuts in Miiller von Marpurck's
' Contrafacturen weitberiihmter Kriegshelden,'
Basle, 1577, are signed with Sichem's monogram.
The Strasburg Livy of 1590 ; a ' Beschrcibung der
Kunst dcs Fechtens,' published at Augsburg by
Joachim Meyer in 1600, and a Joseplius, Stras-
burg, 1601, were also illustrated by this Sichera.
Tliis Sicliem may be the author of the following
portraits, on copper :

The Emperor Charles V. : inscribed Carolus Quintut
Iinperator, SiC Ch. r. Sichem, sculp, et exc.

Queen Eliz.ibeth ; inscribed Elisaleta 1>. G. Angli<e, ^e.
Ch. V. HicheiHy fecit.

Kobert Dudley, Earl of Leicester ; C. van Sichem, sc.
ct exc.

Francois Yalesius, Duke of Aleni;on ; the sa7iie inscrip-
tion.

A .set of twelve Historical subjects ; ClirtsL van Sichem,
fecit. (Woodcuts.)

SICHEM, CHRlSTorHi:R van, the younger, and
Carl. What relation these were to tlie other
Sichems it is impossible to s.iy, but they appear to
have been contemporary with Cornelis, and all three
may well have been tlie sons of the elder Chris-
topher. There is but little distinction between
their works or the monograms they used. Tlie
following prints are attributable to Carl, who eeems
to have made up his monogram of the initials
K. V. S. :

A numerous set of Portraits of the priucip.al Reformera
of the Church, published at Arul.eim in l(>oy ; en-
titled * Iconica Hseresiarcharum.'

A set of whole-length Portraits of the Counts of Huliaud
and Zealand.

SICHEM, Cornelis van, was probably born at
Delft about 1580. He was at work in Amster-
dam in tlie early years of the 17tli centurj', and
is supposed to liave been a disciple of Uendrik
Goltzius, several of whose designs lie engraved on
wood. He also worked after Matham and Bloe-
mart. His prints are pretty numerous. Like tliose
of two other Sichems, they are signed with the

monogram annexed (?^, There can be little

doubt as to his authorship of the following prints:

Esther before Ahasuerus ; after L. de Lcyden.

Tlie Adoration of the Shepherds ; after Ah. Bloemaert.

The Circumcision ; after 11. Goltzius.

Judith with the He;id of Holoferues ; after the same.

St. Cecilia; after the saute.

A set of four plates, Judith, David, Samson, and Sisera ;

after the same.
The Four Evangelists.

SICHLING, Lazarus Gottlieb, engraver, bom
at Nuremberg in 1812, was a pupil of Karl Mayer
and Albrecht Reindel, but in 1832 entered the
atelier of Frommel, at Carlsruhe. In 1834 ho
went to JIunicIi, Paris, and London. For nearly
two years he worked at the "Gallery of Versailles."
In 1839 he returned to Nuremberg, and afterwards
went to Leipsic. His excellent engraving after
GrafTs portrait of I^essing, led to the publication
of a series of German portraits. He died at Leipsic
in 1803.

SICILIANI, Giovanni Bebnardino (Rodebigo).
See Rodriguez.

SICIOLANTE, GinoLAiio da, painter, was born at
Sermoneta in 1504, and is generally called Giro-
larao da Sermoneta. He was at first a pupil of
Leonarda da Pistoja, and then of Perino del Vaga,
whom he assisted in his works in the Castle of S.
Aiigelo. He was employed by Gregory XIII. in
the decorations of the Sala Regia in the Vatican,
where he painted in fresco Pepin, king of France,
giving Ravenna to the Church, after making
Astolfo, king of the Longobardi, prisoner. Other
frescoes are in San Luigi dei Franceschi. He was
one of the best artists of the Roman Decadence.
He died in 1550. Works:

Anoona. -S. Bartolmimeo. Virgin Enthroned, with St.
Bartholomew and other
Saints.
Berlin. Count Haczynstci's 1 ^ pjgt,^

Gallery, j
Borne. S.Maria Mayyiore. Martyrdom of St. Catherine.
„ Ara Call. The Transfiguration.

& M. ddla I'ace. The Nativity.

*^- /""/'» '^,¥' \ The Crucifixion.
iipaynuou. j

„ S. Luiyi. Baptism of Clovis.

SICKINGER, Gregoire, a Swiss painter, prac-
tising at the close of the 16th century. The de-
tails of bis life are unknown, save that he appears
to have married one Elizabeth Theitrich, at Soleure,
in 1595. Recent discoveries have established that
he is the same with the unknown artist mentioned
by Nagler and Fiissli as having used for signature
of his works the following monogram : G. +. S.
At the confraternity of St. Luke at Soleure there
are some pen-and-ink drawings by him, and in the
Albertina at Vienna some engravings on wood.
It is probable that he made designs for the glass-
workers of his period.

SICULO, JACoro, son-in-law of Lo Sp.igna, lived
in the early part of the 16th century. He is said

A BIOGRAPUICAL DICTIONARY OF

to liave received a commission for the decoration
of the C.ippella Eruli, now tlie Baptistery, of the
cathedral at Spoleto. His earliest authenticated
production is a large domed panel in the parish
church of S. Mamigliano. It is dated 1538, and
shows the influence of Raphael. Frescoes by Siculo
exist in the Paliizzo and in the church of S. Niccol6
at Spoleto.

SIDLEY, Samuel, a portrait painter, who was
born in 1829, and educated at Manchester. He was
a scholar at the Royal Academy Schools, and com-
menced to exhibit in 1855. Two of his portraits
are in the National Portrait Gallery, one of Bishop
Colenso being perhaps his best work. He was the
only person who successfully painted Professor
Fawcett. He was a shy and somewhat retiring
man, and never became very popular, although for
presentation purposes hia pictures were for a wliile
the vogue. He had to do with the founding of
the Royal Cambrian Academy, illustrated half-
a-dozen books, himself engraved one of his pic-
tures, but never completed the plate. He died in
1896.

SIEBENBURGEN, Jacob. See Coroxa.

SIEBERT, Adolph, a deaf and dumb painter,
born at Halberstadt in 1806, entered in 1822 Wach'a
atelier at Berlin, and in 1830 with his 'Jupiter and
Mercurius at the House of Philemon and Baucis,'
gained the Academy prize and the Italian Stipen-
dium. He died young at Rome in 1832.

SIEGEN, LoDwiQ VON, (or Sikgen von Sechten,)
an officer in the service of the Landgrave of Hesse-
Cassel, who is now credited with the invention of
mezzotint, which invention he communicated to
Prince Rupert, by whom it was brought to England.
He was born in Holland in 1609, his mother being of
that country, but his father of an ancient and noble
German family. He went to Germany in 1620 to
receive his first education ; returned to Holland in
1626, and remained there till 1637, when he entered
the service of the Landgrave of Hesse. Whether
his services were civil or military is not quite clear,
but he had the title of lieutenant-colonel. In 1641
he again returned to Holland, and employed that
and part of the following year in the execution of
his first engraving, which he produced at Amster-
dam in August, 1642. Siegen died in the military
•ervice of the Duke of Wolfenbuttel about the
year 1680. The following are his best known plates :

1. Bust portr.-iit of Amelia Elisabeth, Landgravine of
Hesse, with a dedication, dated 1642, signed L a S.
H. 17 in,. W. 12J. The second state of the plate has
the date 1643.

2. Eleonora Gonzaga, wife of the Emperor Ferdinand
III., called by others the Qiteen of Bohemia. On the
lower left-hand corner, G. Hondlhorst pinxit anno, and
on the opposite corner, L. d Sieijen inventor fecit, 1643.

3. Portrait of the Prince of Orange, inscribeil Guilhei-
mus D. G. Princeps auriacus comes Nassaviae, etc.,
MDCXLiiii., in one row of capital letters at the bottom.
Signed near the top, G. ilonthorst pinxii, L. ti Siegen
inventor fecit, 1644.

4. Portrait of the Princess of Orange, inscribed Augusta
Maria Caroli M. B. Eeg. filia Guilhelmi Princ. Aur.
Sponsa. In the lower left corner, Hondthorst pinxit.
L, (i Sieijen inv. et fecit.

5. Tlie Emperor Ferdinand III., in an oval, on the upper
part of which is inscribed, Kom. Imperator semper
Aug. et Boh. Kex. and on the lower part, Lud. Siegen
in Sechten ex ... . pinxit novoq. a se invento modo
sculpsit Anno Domini 1654. On the left at bottom
L V S in a monogram, and oppo.site the date 1654.

6. St. Bruno, a whole-leug:th figure kneeling, turned
towards the right, an open book before him. At the
bottom are six verses : on the left cf the verses D'nis

suis Patronis, kc. ; on the right. In honorera S" Brun-
nonis, &c. La Sjn S. An. 1654.
7. The Holy Family, (j/<er AnnihaU Carracci. Dedi-
cated to Prince Leopold of Austria. At the bottom,
Ludw. a Siegen humilissime offert — Annib. Caratii
pinx. Lower down, Lodovicqa S. novosuomodo lusit.
In the second state of the plate it is dedicated to
Cardinal Mazarin, and has the date 1057.

The finest exi8tin:.j collection of the works of
Siegen and other early niezzotinters is in the
British Museum.

SIEGERT, August, a painter of historical
scenes, bom at Neuvied in 1820. He studied at
Dusseldorf, and many of his best works are to
be seen at Hamburg. Almost all his pictures
represent scenes from German history. He died
in 188.3.

SIEMIRADZKI,Hendkik, Polish painter; born
September 15, 1843, at Charkof ; studied at the
Petersburg Academy, and also at Munich under
Piloty, going afterwards to Rome, where he
permanently settled. Some of his fresco work is
to be seen in the Church of Our Saviour at Moscow.
His ' Torches Vivantes de N^ron,' shown at tha
Paris Exhibition of 1878, achieved a great success,
and, despite an offer of 120,000 francs for the
jiictiire, the artist preferred to present it to the
Crakow National Museum. Other works of hia
are ' Une Caveme de Pirates,' ' Danse des Glaives,'
' Vendeur d'Amulettes,' &c. He was a member
of the St. Petersburg Academy, also of the Berlin
and Stockholm Academies ; he obtained a medal
at the Paris Exhibition in 1878, also the Legion
d'Honneur, being made correspondent of the
Academic des Beaux Arts in January 1889. H&
died at Rome, September 1902.

SIENA, Berna da (or Barna). See Barna.

SIENA, GuiDO DA, one of the earliest of the
Sienese painters. The name, Guido de Senis, aj pears-
upon a 'Virgin Enthroned' over an altar in the
church of San Domenico at Siena, It is inscribed
with the year 1221, and upon this the Sienese have
long based their claim to priority over the Floren-
tines in the revival of art. Now, however, it is
believed that the date in question should read 1281.
In style this Madonna is thoroughly Byzantine,
although in arrangement it bears a very strong
resemblance to the great Cimabue in Santa Maria
Novella at Florence. A colossal Virgin (16) in the
Siena Gallery is probably by Guido, and is typical
of the work he represents.

SIENA, Lorenzo da. See Lorenzo di Pietuo.

SIENA, Marco da. See Pino.

SIENA, Matteo (or Matteino da). See Ma-heo.

SIENA, Matteo di Giovani da. See Matted di
Giovanni.

SIENA, MiNUccio DA. See MiNUCcio.

SIENA, Sang da. See Sang di Pietro.

SIENA, Simgne da. See Martini.

SIENA, Ugoling da. See Ugolino da Siena.

SIERRA, Francisco Perez, is reckoned a Spanish
painter, though born at Naples in 1627, and in-
structed in art by Aniello Falcone, the master of
Salvator Rosa. His father, a native of Gibraltar,
was an officer in the Neapolitan army, and married
a daughter of the governor of Calabria. While a
student. Sierra was appointed page to one Don
Diego de la Torre, whom he followed to Madrid.
There he entered the school of Juan de Toledo.
His patron, Don Diego, employed him in copying
pictures by Spagnoletto ; and in painting a series
of Saints for a chapel he had founded at Madrid.

LUDWIG VON SIEGEN

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AMELIA ELIZABETH. LANDGRAVINE OF HESSE
1642

PAINTERS AND ENQRAVEIJS.

Later in life Sierra was appointed manager of the
Spanisli prisons, and gave up art, except that lie
painted flower-pieces for his amusement, some of
which found their way into the Buenretiro. lie
died in 1709.

SIEURAC, FBANgois Joseph Juste, miniature
painter, born in 1781, at Cadiz, of French parents.
He studied at the Academy of Toulouse, and under
Augustin, and exhibited miniatures at the Salon.
He died at Soreze, near Toulouse, about 1832.
Amongst his miniatures were portraits of Lord
Byron, Sir Walter Scott, Thomas Moore, and the
Duchesse de Berri.

SIEURAC, HE>rRl, painter, was the son iinj
pupil of Fran(;oi8 Joseph, and was born in Paris,
August 15, 1823. He studied for a time und.-r
Paul Delaroche, and exhibited at the Salon from
1848 until his death, which took place in Paris,
December 1863. The following are his best known
works :

Aix. Muuum. The Triumph of Fabius.

Chalon-sur-Saoue. „ The Birth of Bacclius.

Dijon. „ Faith, Hope, and Charity.

Toulouse. „ The Renascence (an allegory).

SIEVIER, Robert William, engraver, born in
London in 1794, studied engraving with Young
and Scriven, and afterwards worked in the Academy
schools. He engraved the portraits of Lord Ellen-
borough, after Lawrence; Lady Jane Grey, after
Holbein; 'The Importunnte Author,' after New-
ton, and several plates after Etty. His study
in anatomy and modelling led him about 1823 to
desert engraving for sculpture, in which latter art
he achieved both distinction and popularity. Much
of his energy was devoted to science, and in 1840
he was elected a Fellow of the Royal Society. He
died in London in 1865.

SIGALON, Xavier, painter, born at Uz^s in
1788, learned his art from one Monrose, a pupil of
David, and in the Nismes school of design. He
acquired the means to go to Paris by painting
saints for the churches of Nismes. He arrived in
the capital in 1817, and studied under Guerin and
Souchot His first pictures were ' The Young
Courtezan,' now in the Louvre, ' Locusta,' ' Athaliah,'
and 'The Vision of St. Jerome.' A 'Baptism of
Christ' met with such a fire of criticism that he
retired to Nismes, where he devoted himself to
porirait painting and giving drawing lessons. On
Thiers becoming minister, Sigalon was commis-
sioned to copy the ' Last Judgment ' of Michel-
angelo in the Sistine Chapel. From 1833 to 1837
he was constantly engaged on this work, which,
when seen, revived his reputation at home. But
after a short visit to Paris, he returned to Rome,
where he died of cholera the same year, in 1837.

SIQMARINGEN,The Master of, an anonymous
painter of the School of Ulra, who was still
working in the sixteenth century, though he
followed closely in the steps of earlier masters,
especially Zeitblom. His principal work, con-
taining see: es from the life of the Madonna, is
in the Gallery at Sigmaringen, hence the name
by which he is known ; an earlier work, part
of a large altar-piece, is in the Gallery at Donaue-
schingen. This painter was formerly confounded
with Schiilein.

SIGMUND III., King of the Poles, born in 1566,
was not only a lover of the arts, but also a good
artist. He painted an ' Allegory of the Foundation
of a Jesuit Monastery,' which he gave to his
daughter Anna on her marriage with the Count

Palatine, Philip Wilhelm. The picture found its
way to the Diisseldorf Gallery, and thence to
Schleissheim, where it was long called a Tintoretto.
He also painted a ' JIater Dolorosa,' now in the
Augsburg Gallery. He died in 1632.

SIGNOL, Emii.e, French painter ; bom in Paris,
May 8, 1804; became a [upil of Blondel and of
Baron Gros ; won the Prix de Rome in 1830 with
his ' Meleager.' In 1834 he obt.ained a secoud-
class medal, and a tirst-class medal in 1835.
Between 1838 and 1839 he did a great deal of
work in the G:d!erie3 at Versailles. His ' Femme
Aduli^re,' now in the Luxembourg, was the most
popular picture of the Salon of 1840. In that ye.ar
lie was employed in decorating the Madeleine, and
this led to other similar work in Parisian churches.
He was made a member of the Acad^mie des
Beaux Arts in 1800; a Chevalier of the Legion of
Honour in 1841, and an Officer in 1865. He died
in Paris, September 1892.

SIGNORACCIO, Bernardo and Paolo. See Del

SiGNORACClO.

SIGNUKELLI, Francesco, nephew and assist-
ant of Luca Si.irnorfUi, a mediocre painter, best
known by his only signed work, 'The Immaculate
Conception,' in the Church ofS. Francesco, Gubbio.
To him are also attributed a ' Madonna and Saints '
in the Palazzo Pubblico, Cortona ; 'The Incredu-
lity of St. Thomas,' in the Duomo, Cortona ; and a
Church Standard, on which is represented ' The
Biptism of Christ,' in the Gallery, Citti di Castello.
His works, though without merit, have a certain
stylistic resemblance to those of his master. He
was still living in 1560. n.C.

SIGNORELLI, Luca, pa'nter, born at Cortona
about 1441, was the son of Egidio Signorelli and
a sister of Lazzaro dei Taldi, great-grandfather of
Giorgio Vasari. He was thus great-uncle of his
biographer. But few facts of his youth are known
with certainty. He was placed at an early age in
the atdiir of Pier dei Franceschi, whom he jiro-
bably assisted in the Arezzo frescoes, but the chief
influence on his work was that of Antonio PoUai-
uolo, to whom it is more than probable he was
subsequently apprenticed. His style of painting
is essentially Florentine, and it may with safety be
assumed that most of his youth was spent at
Florence. His earliest existing work — ' The Fla-
gellation,' in the Brera, Milan — is entirely PoUaiuo-
lesque, and his frescoes in the Sacristy of the Church
of the Santa Casa, Loreto — also a comparatively
early work — show the influence of Donatello and of
Veriocchio. In 1479 he was residing at Cortona,
where, on Sep. 6, he was elected to the Council of
Eighteen, and shortly afterwards to the Conserva-
tori degli Ordinamenti del Commune. The follow-
ing year he was made one of the Priori and elected
to the Consiglio Grande. These honour able offices,
besides others, he continued to hold till the year of
his death, evidence of the high consideration in
which he was held in his native city. His first
dated picture is the 'Madonna and Saints' in the
Chapel of S. Onofrio in the Duomo, Perugia, exe-
cuted in 1484. In 1488 he was elected a citizen
of Citti di Castello in appreciation of a Church
Standard painted by him for that town, a work
which no longer exists. In 1491 he was among
these invited by the Operai of the Duomo, Flo-
rence, to judge the designs presented for the
facade of the Cathedral, but for unknown reasons
he did not assist. In 1497 he was commissioned
by the monks of Monte Oliveto, near Siena, to

A BIOGRAPHICAL DICTIONARY OF

paint in their cloister scenes from tlie life of St.
Benedict He executed only eight of the frescoes,
wliich were finished by Sodoma. His most import-
ant work is tlie decoration of the Cappella della
Madonna di S. Brizio, in the Cathedral of Orvieto,
to which he devoted at least five years. He received
the commission for the vaulting, already begun
by Fra Angelico, in April 1499, and that for the
walls a year later. These grand frescoes, which
represent Dantesque conceptions of the 'Last
Judgment,' with subordinate decorations in gri-
saille, became like the frescoes of Masaccio in the
Carmine, a school from which later artists drew
their inspiration. Michelangelo, among others,
was strongly influenced by them. Signorelli was
assisted in the work by his son Polidoro and by
Girolamo Genga, but their participation was con-
fined to subordinate parts, and the entire series
of frescoes bear evidence of the master's own
vigorous hand. While at Orvieto he painted for
the treasurer of the works, with a few bold strokes
upon a tile, his own portrait, still preserved in the
Opera del Duonio, which shows a powerful, impe-
rious and strenuous face, with brow and jaw
strongly developed. Occupied as he was with the
Catliedral frescoes, he found time to continue his
municipal duties, and was re-elected to his offices
at Cortona. In 1508 he was sent as ambassador
to Florence to demand permission to effect certain
communal reforms, and the same year he went to
Rome to paint for Julius II. in the Vatican, toge-
ther with Perugino, Pinturicchio, and Sodoma.
One wall at least was finished by him, but no trace
of his work remains, since, with the exception of a
ceiling by Perugino, the entire labour of the older
painters was ruthlessly destroyed to make way for
the paintings of Raphael and his scholars. In
1512 he was again sent by his fellow-citizens as
ambassader to Florence to congratulate the Medici
on their return, and the following year he went to
Rome to seek the patronage of tlie new Pope,
Giovanni dei Medici, but without success. The
day of the Quattrocentists was over, and, as far as
Rome was concerned, Signorelli had outlived his
time. He lived to the age of 82, retaining his
health and energy up to the last, and some of his
finest work was painted when he was between
€0 and 70. His last work — the altar-piece in the
CoUegiata, Foiano, painted in his last year, still
shows great energy and force. He died in 1523, and
was buried in the Church of S. Francesco, Cortona.
The work of Signorelli is characterized by nobility
ef conception, and breadth and vigour in execu-
tion. The Titanic grandeur of his figures .antici-
pates that of Michelangelo's ; they have the same
solemnity, without however his tragic melancholy :
Signorclli's views of life were more optimistic.
He belonged to the Naturalistic School, and used
his themes to display the human form and its con-
struction. He was complete master of anatomy,
and specially skilful in the rendering of compli-
cated movement and crowded action, in which he
has never been surpassed. At the same time his
figures have often a grace and beauty rare among
the realistic painters of his daj'. No more poetic
works exist than his 'Pan' in the Berlin Gallery,
and his ' Madonna ' of the Rospigliosi Collection,
Rome. But his poetry was an accident, his aims
were purely scientific. His rapidity of brush-
work and bre.adth of tre:;tment were in advance of
his time, and give his works an ahnost modem
appearance. No painter has given to the human
80

Bergamo. Morelli Coll.

Berlin.

\..

frame a like dea;ree of nobility, of vehemence at d
strength, nor treated his themes with more stately
dignity.

Altenburg. Museum. Nine panels from Polyptych.

Arcevia 5. Mtdardo. Polyptych with Predella.

1507.
„ „ B.iptism with Predella. 1508.

Arezzo. Gallery. Madonna, Saints, and Pro-

phets. 1519.
„ Dutrmo {Sacristy). Three Predella Panels : Birth
of Virgin ; Presentation ;
Marriage of Virgin.
St. Rock.
St. Sebastian.
„ Madonna.

K. Museum. Two wings of Altar-piece with
Saints. 1498.
,, Pan as God of Nature and

M.ister of Blusic.
,, Visitation.

„ Portrait of Man.

Borgo S. Sepolcro. Muni- } Church Standard, with Cnici-
cipio. J fiiion, and SS. Antonio and
Eligio.

^ FiSno. (^o"^'"*"- ] Deposition (fresco).

Citti di Castello. Gallery. Martyrdom of St. Sebastian.

149B.
Cortona. Suomo. Deposition with Predella.

1502.
_ ,, Institution of Eucharist.

1512.
„ „ Iramaculat-e Conception.

Mailonna sjid Sainte, 1515

Madonna and Saints.

Dead Christ upheld by

Angels; on reverse.Madonna

enthroned with Saints.
Madonna and 5a^nt^ (fresco).
Predella : Feast in the House

of Simon.
Madonna and Saints with

Predella.
Crucifixion (in part).
Holy Family.
Madonna aud Child.
Holy Family.
Predella Panel : Annuncia^

tion : Nativity ; Adoration,
Madonna and Child.
Foiano. CoUegiata. Coronation of Virgin, 1523,

with Predella (two panels

only by StjnoreUi).

Liverpool. Soyal /«•"«'- | Madonna.

tute. j
London. NationalGalUry. Circumcision (Child hy
Sodoma).
„ „ Madouna and Saints. 1515.

„ „ Predella Panel : Annuncia-

tion.

,, „ Predella Panels : Dispute on

the Way to Emmaas ;
Christ at Emmans.

„ Coll. of Lord ) Predella Panels : Meeting of

Crawford. J Joachim and Anna ; Birth
of Virgin.

„ Coll. of Dr. Moni. Predella Panels : Ahasuerus
and Esther ; Two Scenes in
Life of St. Augustiae.

Dublin.
Florence.

S. Domenico.

Gesii.

S. Niccolo.

Gallery.

Accudemia.

Pitti.

Corsini Coll.
CoUegiata.

„ Coll.ofMr.Muirl^^^^
Mackenzie, j
Loreto, S. 3faria della \ Frescoes
Santa Casa ) Cura.
,, „ Medallions

in Sagrestia della
of Prophets in

Meiningen. Ducal Palace.
Mihiu. Mrera.

Mont* Oliveto
Maggiore.

Cloisters.

Nave.
Predella Panel.
Madonna and Saints. 1503
Flagellation.
Madonna and Child.
Eight frescoes from Life of

St. Benedict. 1497.

LUCA SIGXORELLI

SAINTS

IBiilin GiiUc'iy

LUCA SIGNORELLI

[CallnJiiil. Owhlo
PORTRAITS OF SIGNORELLI AND FRA ANGELICO

PAINTERS AND ENGRAVERS.

Mnrra (near S. Crescen-

CittadiCastello). ziano.

Munich. Fiaakothek.

New Haven, Jarves Coll.

U.S.A.
Orvieto. Duomo.

Opera del I>u(mu}.

Paris.

Louvre.

Duomo.

Peru^a,

Richmond. Coll. of Sir

Frederick Cook.

Rome. liospiyliosi Gallei-y.

Stirlingshire Coll. of Sir

(Scotland) . Joh n St irl-

Umbertide. Santa Croce.

Urbino. Santo Spirito.

Crucifixion and Flagellation
(frescoes).

Madouna and Child,
' Fredella Panel : Adoration of
I Magi.

Frescoes in Chapel of Ma-
donna di S. Brizio. 1499-
1504.

St. Maria Maddalena. 1504.

Portraits of Siguorelli and
Niccolo Frauceschi {on
tile). 1503.

Tredella Panel : Birth of
Virgin.

Seven figures (fragment of
larger paintinii)-

Chapel of S. Onofrio : Ma-
douna and Saints. 1484.
) Two fragments of Baptism.
J Profile Portrait of Man.

Holy Family.

Ipi,

PieU.

Yolterra. Duonin Sacristy.
,» Municipio.

,, (On stairs).

Deposition with Predella.

1516.
Churcli Standard (now

divided) : Crucifixion and

Pentecost. 1494.
Annunciation. 1491.
Madonna and Saints. 1491.
S. Girolamo {fresco). JI. C.

SIGRILLI, B., an Italian engraver, who flour-
ished about tlie year 1760. He engraved some of
the plates in tlie "Gerini Gallery."

SILLET, James, flower painter, born at Nonvich
in 1764, studied in the schools of the Royal
Academy. About 1804 he went to-King^s Ly]m,
but in 1810 returned to Norwich, where he died
in 1840. He chiefly excelled in miniature, but he
also painted still-life and theatrical scenerj-, and
illustrated Richard'.s ' History of Lynn.'

SILLI6, Georg Victor, painter and etcher, was
born in 1806, at Dresden, where he practised for
many years, painting and etching military scenes.

SILO, Adam, a marine painter, draughtsman,
and decorator, was bom at Amsterdam in 1670.
He was skilled in mechanics, and Peter the Great
engaged him to teach five young Russians ship-
building. He painted marine pieces for the Czar,
in which the drawing of the vessels was good.
Nine etchings of skiffs, fishing-boats, and other
vessels, signed A. ,'}ilo inv. et feet., are extant.
It is said that Silo lived to tlie age of 90.

SILVA BAZAN Y SAIi.MIENTO, Dona Mariana
DE, Duchess of Iluescar and Arcos, born December
14, 1750, at Madrid, was a clever amateur painter
and modeller, and was also known as a writer of
lyric and dramatic poetry. In 1766 she was made
honorary member of the Academy of San Fernando,
and later was appointed honorary director. She
was three times married, lastly to the Duke of
Arcos, and died in 1784.

SILVA, Domingo Jose da, a Portuguese die-
cutter and medallist, of the early part of the 19th
centurj-, was also an engraver of some note. He
was a pupil of Bartolozzi, at Lisbon, in 1814, and
profe.ssor at the Lisbon Academy in 1836.

SILVA, Henriquez Josfi de, a Portuguese painter,
who was practising about 1800. He held the post
of Director of the Academy of Painting at Rio
Janeiro.

SILVESTRE, (Sylvester,) a Scoto-French family
of artists, flourished in France from about the be-
ginning of the 17th century. The following table
shows the relationship of its members :
VOL. V. G

GiIles(I500?— ).

Ftsntnis (i6i;o ?— ).

Israel (1021—1691).

Charles Francois Louis the elder Alexandra Louis the younger
(1607—1735?). (1009-1740). !1672— ). (1075—1760).

Xicholas Charles (1693-1707). Suzanne Elisabeth (1694— ).

Jacques Augustin (1719— 1S09).

I
Augustin Francois (1702— ISol).

SILVESTRE, Alexandre, the third son of
Israel Silvestre, was born in 1672. He etched
some landscapes after Louis Silvestre, his brother,
which are not without merit.

SILVESTRE, Augustin FRANgois, Baron de,
painter and draughtsman, the son of Jacques
Augustin, and the last representative of the
family, was born in Paris, December 7th, 1762.
He studied under his father, and in Rome, lioping
to succeed to the office of drawing-master to tho
royal children, which had been held by members
of his family for a century and a half. On his
return from Italy, however, he found that the post
had been abolished, and in compensation, he was
in 1782 appointed assistant-librarian to Monsieur
(.afterwards Louis XVIII.). From this time he
abandoned painting, and devoted himself entirely
to scientific pursuits. He was employed under
both the Republic and the Empiire, and yet was
re-installed as librarian and reader to Louis
XVIII. at the Restoration, receiving the title of
baron. After the Revolution of 1830 he retired
into private life, and died in Paris in September
1851.

SILVESTRE, Charles FKAxgois de, painter, en-
graver, and draughtsman, was the eldest son of
Israel Silvestre, and was born in Paris, April 11,
1667. He was the pupil of his father, of Charles
Lebrun, and of J. Pnrrocel, but finished his studies
in Italy. On the death of his father in 1691, he
succeeded to the office of drawing-master to the
French royal children, and to the apartments which
had been occupied by Israel in the Gallery of
the Louvre. He was ennobled by Augustus III.
of Poland. He married Suzanne Thuret, the
niece of Jacques Thuret, a famous clock-maker of
the day, and died in Paris about 1738. He en-
graved many landscapes and historical subjects
after his own designs and those of his youngest
brother.

SILVESTRE, Gilles, the first of the painters
of the Silvestre family. Of Scottish origin, the name
being originally Sylvester, they had settled in
Lorraine at the beginning of the 16th century.
Gilles, who was born at Nancy about 1590, married
Elizabeth Henriet, daughter of Claude Henriet,
painter to the Duke of Lorraine, and then, although
no longer a youth, determined to devote himself
to painting. His son FRANgois, born at Nancy
about 1620, was his father's pupil, and a draughts-
man and engraver of landscapes.

SILVESTRE, Israel, an eminent French en-
graver and son of Gilles Silvestre, was born at
Nancy, in Lorraine, in 1621. He was the nephew
of Israel Henriet, by whom he is supposed to have
been instructed. He formed his style on Delia
Bella and Callot, and appears to have been imi-
tated in his turn by Sebastian Le Clerc. He
designed, etched, and engraved a great number
of landscapes and views, decorating them with
small figures, correctly drawn, and touched with
uncommon spirit. His merit recommended him to
Louis XIV., who employed him in designing and
engraving views of royal palaces, public festivals,

A BIOGIIAPHICAL DICTIONARY OF

and the places Louis had conquered. He was ap-
pointed drawing-master to the Daupliin, and was
made a member of the Academy. He went twice
to Ital}', where he found many subjects. His
plates amount to upwards of one thousand. He
died in Paris in 1691. His daughter SnsANNE,
who was married to tlie painter Le Moine, engraved
a few plates. The following are among Israel's
best works :

A set of tweutj-one Views in Italy aud France, repre-
senting edifices, ruius, and landscapes, with inscrip-
tions iu French.

A set of thii-tcen Views in Rome and the environs ; in-
scribed Faites par Israel Silvesire, et mises en lumicre
par Isrdd HenrUt.

Twelve Views of gardens and fouataius ; entitled Alcune
vedute de Giardtni e Foatane di lioma e di Tivoli^ ^r.,
with descriptions iu Italian.

Four Views iu the Kingdom of Naples, in the form of
friezes.

A set of six Views of Sea-ports in the Kingdom of Naples;
circular plates.

Twenty-four Views of Italian aud otlier Sea-ports ; with
descriptions in French ; circular plates.

Twelve of the most remarkablo Views in Paris and the
environs, some of which are engraved by Delia Uella.

A View of Paris, from the Bridge of the Tuileries.

A large View of Kome ; four sheets.

Two Views of the Campo Vaccino, and the Coliseum at
Rome.

The grand Carousal, or Royal Kiitertainment at Paris iu
166- ; in one hundred aud eight prints. F. Cliaveau
engraved some of these plates.

The Pleasures of the Enchanted Island ; nine Plates,
with a vignette.

* Paysages Diverses ; * seventy-four views of Palaces,
churches, &c., in France aud Italy.

' Vues Diverses de Roma et d' Italic ; ' one hundred and
five views of Italian scenery.

SILVESTUE, Jacques Augostin de, ]iaititcr,
the son aud pupil of Nicholas Charles, was born
in Paris, August 1, 1719. He succeeded his father
as drawing-master to the French royal children.
During a three years' sojourn in Kome, he made
drawings of most of the antiquities of the city.
His fine collection of prints was sold after his
death, which took place in Paris, in 1809.

SILVESTHE, Louis, called Louis the Elder, the
second son of Isriiel Silvestre, was born in Paris,
March 20, 1(569, and was taught by his father.
Particulars as to his works are lacking, but he
appears to have painted landscapes, as he was re-
ceived at the Academy in 1705 with a work of tliat
class. He died in Paris, in 1740.

SILVESTRE, Louis, the younger, fourth son
of Israel Silvestre, and the homonym of his elder
brother, was born in Paris in 1675. He was a
pupil of Le Brun and Bon BouUogne, and entered
the Academy in 1702. His election picture, 'The
Creation of Man by Prometheus,' is now at Moiit-
pellier. Having gained a great reputation for his
portraits and landscapes, he was invited to the
court of Augustus III., at Dresden, whence, after a
residence of thirty years, during part of which he
was director of the gallery, he returned to Paris,
and was appointed to the corresponding post there.
He died in Paris in 1760.

SILVESTUE, Nicholas Chaules de, the son of
Charles Frangois, was born in Paris in 1698. He
was drawing-master to the royal family, and died
ill 1767. The following plates may be named :

Ub.aldo aud the Danish Knight searching for Rinaldo iu

the palace of Armida ; after Le Moine.
A Hunting-piece ; after Audray,

SILVESTRO. an early Florentine painter, was a

Oamaldolese monk in the Convent of Santa Maria
degli Angeli at Florence. He flourished from
about 1350 to 1410, and was one of the best missal
painters of bis time. A splendid mass-book, for
his own monaster}', mentioned by Vasari, remaiueii
there for centuries, and was praised by Leo X. in
1513. It was brought to England by Ottley, and
one of the miniatures from it, a birth of St. Jolin
the Baptist, in the presence of the Virgin, is now
in the Liverpool Institution. Others were in the
Fuller Russell collection, now dispersed.

SILVIO, Giovanni, a native of Venice, who
flourished about the year 1532. He is supposed to
have been educated in the school of Titian. In
the Collegiata di Piovi di Sacco, near Padua, is a
picture by him bearing the above date. It repre-
sents St. Martin between SS. Peter and Paul, with
three angels, two of which are supporting his
crosier, and the third playing on the harp.

SILVIUS, Anthony, (SYLVIUS,) whom Papillou
calls Silvius Antonianus, are the supposed names
of a draughtsman and wood-engraver, who used

the monogram /{ aud flourished from 1553 to

about 1680. It is said that he was born at Antwerp
in 1525, and was much employed by Christopher
Plantiii, and other printers. The names, however,
of Silvius Antonianus seem to be a mistake. It
appears that Papillou had observed the above
monogram on the wood-cuts to an edition of
Faerno's Fables, printed at Antwerp iu 1667, and
dedicated to Cardinal Borroineo by Silvio Anto-
niann, professor of Belles Lettres at Rome, and
afterwards a cardinal himself, and had hastily con-
cluded that the editor was the engraver. Nagler
has given a catalogue of books to which the en-
graver who used the above monogram contributed
wood-cuts, vignettes, or title-pages.

SILVIUS, i?ALTHASAR, a German engraver, who
flourished about the year 1555. He executed some
coarse plates, chiefly from his own designs. They
are usually marked with the initials B. S. He also
engraved after Frans Floris, Karl Van Mander,
Jerome Bus. and others.

SIMANOWITZ, LuDoviKE voN,M^e Reichendach,
was born iu Stiittgart iu 1761. She painted por-
traits of Schiller and the painter Wachter. She
died at Ludwigsburg iu 1827.

SIMART, P. C. This eminent sculptor deserves
attention on account of the exquisite drawings
whicli he made in the earlj- part of his career.
His life was a continual struggle, as he met with
the greatest possible opposition from liis family
when he desired to enter the artistic profession,
and he received practical persecution for refusing
to take up a commercial career. He was a native
of Troyes, boin iu 1806, but it was not till 1840
that he acquired any eminence as a sculptor.
Meantime, from the age of fifteen, he had sus-
tained himself by the sale of his drawings, most
of which represented works of sculpture, which
he copied in the various museums he visited, and
wliich he drew with the utmost accuracy and skill.
He was a man of anxious and somewhat melan-
choly temperament, and his letters, wliich have
been published, reveal the details of a very sad
life. Between 1840 and 1848 he was engaged upon
his best work in sculpture, but during the last few
years of his life he had the connnission to decorate
the tomb of Napoleon I., and the ceiling of two
picture galleries in the Louvre. He was never
really happy, however, with flat decoration, his

PADCTERS AXD ENGRAVERS.

genius being in the direction of sculpture. After
iiis dealh in 1857 bis works were much better
appreciated, and at Lis native town of Troyes a
considerable part of the local Museum is given
op to the work of this talented artist. A little
of the encouragement so gladly given after his
death would have enabled him to produce
even greater works, and would have reflected
more honour upon the people amongst whom he
lived.

SIMBRECHT, Mathias, was born at Munich.
He died at Prague of the plague, in 1680, probably at
an early age, the number of bis pictures being very
small. It is not known where he received his first
instruction, but the effects of a profound study
of Raphael are visible in his works, and indicate
a sojourn of some length in Italy. There is an
altar-piece in the church of S. Stephen at Prague
by him ; a ' Visitation ' in the Museum, and further
a'' S. Rosalie ' and an ' Education of the Virgin.'

SIMLER, JOHASX, a Swiss painter and engraver,
born at Zurich in 1693. He studied for a short
time under Pesne at Berlin, and was a pupil of the
engraver Melchior FuesslL He died in 1748.

SIMMLER, Frieduich Karl Joseph, landscape
and animal painter, born in 1801 at Hanau, whither
his parents had fled from the French, studied at
Munich and Vienna. He made excursions through
Upper Austria and Styria, studying landscape and
animal painting. He paid long visits to Florence,
Rome, Venice, and Naples, and, in 1829, went to
Hanover to paint some portraits at the request of
the Minister von Bremer. He painted in the land-
scapes of Schullen, Booking, and Grieben, while
Achenbach and Scheuren occasionally painted back-
grounds 10 his cattle. In 1862 he went to live at
Aschaffeiiburg, where he died in 1872. His three
sons all devoted themselves to art. Works :

View of Bergen.

View of llutenlieim.

Landscape with Goetz vou Berlichingen.

Bull and Sheep. (Berlin, Racn/niski Col.)

Dutch Landscape. (Late Bukt of Cambridge's Col.)

SIJIMLER, Joseph, historical and portrait
pamter, born at Warsaw in 1823, was a i upil of
the iliuiich Academy. He painted portraits and
historical pictures, and died at Warsaw in 1868.

SIMilONS, JoHX, buru at Nailsea in Sumerset-
shire, about 1715, was a house and ship's painter at
Bristol. His name appears in the early catalogues
of the Royal Academy as a portrait painter. There
is an altar-piece by him in All Saints' church,
Bristol, and another in S. Johns. Devizes. Many
of his portraits have been engraved, among them
that of Ferguson, the astronomer. It is said he
was known to Hogarth, who thought well of his
talents. In the Academy catalogues his name is
Bometiraes printed SimmoTuls of Bristol. He died
at Bristol, January 18, 1780.

SIMMONS, William Henby, engraver, born in
London, June 11, 1811. He studied engraving at
Finden's Institute, and was for many years perhaps
the chief of English workers in his own line. He
first appeared at the Royal Academy with two
plates after Frank Stone, and his last exhibited
plate was 'A Humble Servant,' after Rosa Bon-
heur, a proof of which was at the Academy at the
time of his death. His last work was to etch the
plate from 'The Lion at Ho:i.e,' which was com-
pleted after his death by Mr. Atkinson. He died
Nov. 6, 1882. The following is a list of his chief
plates :

Kiistic Beauty. 1837.
Catherine Seyton. 1850.

Well-bred Sitters ; after Sir E. LandsetT. 1875.
Dominion ; after the Siime,
Ou Trust ; after the same.
Kuyal Sport ; after the same.
The Sick Monkey ; after the same.
Tamiug of '.he Shrew ; after the same.
The Fatal Duel ; after the same.
The Proscribed Royalist ; after Sir John Millait,
The Lost Piece of Money ; after the same.
Kosaliad and Celia ; after the same.
Highland Mary ; afttr T. Fatd.
Daddy's a-coming ; after the same.
.Sunday in the Backwoods ; after the same,
Tlie Poor Man's Friend ; after the same.
A Wee Bit Fractious ; after the same.
Baith Faither and Mither ; after the same.
Tre Last of the Clan ; after the same.
His only Pair ; after the same.
New Wars to an old Soldier ; aftei- the sajne.
A'>'.iiting for the Verdict ; after A. Solomon,
Not Guilty ; after the same.
Both Puzzled ; after Erskiyie 2^'ichol.
* Steady, Johnny, Steady ! ' after the same.
Tje Light of the AVorld ; afttr Holman Huta.
Ciaudio and Isabella ; after the sa;tie.
Xews of our Marriage ; after Tissot.
Marriage of the Prince of AVales ; after Frith.
' Luff, boy ' ; after Hook.
.\n Old Monarch ; after Rosa Bonhtur.
A Humble Servant ; after the same.
And plates after Le J^une, Van Lerius, irinterhalter, and
others.

SIMO, or SniONE, Juan Badtista, a Spanish
painter, and native of Valencia, in which city he
was associated with Antonio Palomino, in 1697,
on frescoes for S. Juan del Mercado. He accom-
panied Palomino to Madrid, where he painted in
the convent church of S. Felipe el Real. He left
these paintings unfinished at his death in 1717, and
they were completed by his son, Pedro Simo, also
tn artist of some merit.

SIMON DE CHALONS, a French painter of the
16th century, a native of Chalons in Champagne.
From about 1545 to 1565 he was established at
Avignon, where four pictures by him, 'The Ador-
ation of the Magi,' and ' Our Lady of Pity,' in the
Calvet Museum, a 'Nativity' in the church of S.
Peter, and a ' Descent of the Holy Ghost ' in the
clmroh of S. Didier, are to be found.

SIMON OF Bellusa. See Simose da Cusighb.

SIMON, Jean, engraver, a native of Normandy,
born in 1675, was trained in his owu countrj-, but
came to England some years before the deatli of
John Smith, and on seeing that artist's work, he
quitted the graver, and applied himself entirely
to scraping mezzotints. Sir Godfrey Kneller, upon
some difference between himself and Smith, em-
ployed Simon to engrave some of his pictures in
mezzotint. This he did with a success which did
not desert him when he turned to the works of
other masters. Among his plates we may name :

Queen Elizabeth ; after Hiltiard.

Charles I. ; after Vandyck,

M'illiam III. ; after Kiieller.

Mary II. ; after Vander I'aart,

Queen Anne ; after Kneller.

George, Prince of Denmark.

George I. ; after Kneller,

Georije II.. when Prince of Wales ; after the same,

John, Lord Cutts ; after the saute.

William, Earl of Cadogan ; after the same.

John Tillotson, Archbishop of Canterbury ; after th»

same.
John, Lord Somers ; after the same.
Sir William Temple ; after tlie same.
William, Earl of Cadogan ; after La Guerre.

A BIOGRAPHICAL DICTIONARY OF

Horace, Lord Walpole ; after I'anloo.

Half-Ieugth of the Princess Mary .daughter of George II.

AVilliam Shakespeare.

Johu Milton.

AJexauiler Pope.

Joseph Addison.

Kichard Steele.

Peter delivered frojn Prison ; after Derchet.

The Cartoons ; aftt:r Itajihael.

Christ and His Apostles ; after Baroccio.

Christ restoring Sight to the Blind ; after Laijuem.

The Samaritan Woman ; aft<r the same.

1 ortrait of the Hon. Mrs. Walpole ; after SI/. Dahl.

Mary Stuart.

Dorastus and Fauuia ; after Berchet.

A Pastoral Landscape.

Simon died in London about 1755.

SIMON, PlERKE, a French engraver, born in
Paris in 1640, is supposed to have been a pupil of
Robert Nanteuil, to whose style his bears great
resemblance. His best plates are his portraits,
Bome of wliich are from his own designs. We
have, among others :

Louis XIT. ; after C. Le Brun.

Louis de Uourbou, Prince de Conde ; from his own

design.
Anne Marie Louise d'Orleans, Ducliesse de Montpensier ;

the same.
Elizabeth Charlotte, Duchesse d'Orleans ; the same.
Charles d'Ailly, Due de Chaulnes ; after La Borde.
Cardinal Kospigliosi ; after C. Maratti.
Federigo Earoccio, Painter.

Among his historical prints we have :

The Martyrdom of St. Cosmus aud St. Damianus ; after

S. Eosa.
Moses aud the Burning Bush ; after 3'. Poiissin.

Simon died in Paris in 1710.

SIMON, Pierre, called the Younger, a draughts-
man and engraver in the chalk and dotted maimer,
was born in London before 1750. He was early
engaged upon plates for Worlidge's ' Antique
Gems,' and was one of the engravers employed by
Boydell on his Shakspeare gallery, and on oilier
pictures by contemporary painters. His best work
was done for the Shakspeare gallery ; these are
the plates :

A scene from the * Tempest ' ; after Fi($cli.

' The Merry "Wives of Windsor,' two plates, one after
Sinirke, and the other after the liev. If. Peters.

Scene from ' Much Ado about Nothing ' ; after the same.

Scene from * Measure for Measure ' ; after T. Kirk.

The ' Midsummer Night's Dream ' ; after Fuseli.

Scene from the ' Merchant of Venice ' ; after Smirke.

Scene from * As You Like It '; after IV. Hamilton.

Scene from ' Taming of the Shrew '; after F, WheatU'j.

Christopher Sly ; after Smirke.

Scene from ' Henry IV.* ; after R. Westall.

Scene from ' Konico and Juliet' ; after tt'. Miller.
We may also mime :

The Woodman; afttr Gainshoroue/h,

Square discovered by Tom Jones in Molly Seagrim's
bedroom ; after Doirnman.

The Sleeping Nymph ; after Opie.

Frances Isabella Ker Gordon ; after Sir J. Ueynolds.

The Three Holy Children ; after the Rev. TV. Peters.

Bust of Clytie ; after J. B. Cipriani.

The Fair Emmeline, and a subject from the ' Vicar of
Wakefield '; after iStothai d.

Pierre Simon died about 1810.

SIMON, Thomas. This very great seal en-
graver, the younger brother of Abraham Simon
the medallist, was the creator of the wonderful
crown piece known as the " Petition Crown." The
original drawing for this coin is said to have been
in the posses.sion of the Crown for many years, but
cannot now be fouud. The coin was submitted to '

the King in 1663, and was one of the most beau-
tiful pieces of money ever struck. Simon engraved
many of the Royal seals for Charles 11., and
his work is of great technical excellence and re-
markable beauty. He always took the greatest
care that his designs and the relief of them should
be consonant with the character of the coin or seal.
He is believed to have been born in Guernsey, about
1620 ; lie died in Londou in 1G65 of the plague.

SIMON DE TROYES, a French miniaturist of the
15th century. He worked for the church of S.
Peter at Troyes, and died in 1450.

SIMONAU, Franqois, a painter of the Flemish
school, born at Bornhem in 1783. He studied at
Bruges, and in Paris, under Gros. He came to
England about 1815, and settled in London, where
he had a good practice as a portrait painter. He
died in London in 1859. There is a portrait by
him in the Museum at Brussels.

SIMONAU, Gdstave Adolphe, the nephew of
Francois Simonau, was born at Bruges in 1810.
He came to London,where his father was established
as a lithographer. He took up painting, producing
views of towns in water-colours, and l.'is chief work,
' The principal Gothic Monuments of Europe," was
lithographed by himself. Later in life he was en-
gaged as an architectural painter in Belgium. He
died at Brussels in 1870.

SIMONE, Antonio di, a Neapolitan painter of
the 18th century. He painted battle-pieces and
landscapes, and occasionally figures in tlie pictures
of Niccol6 Massaro. He must not be confounded
with another Antonio di Simone, who lived in the
17th century, and w.as a scholar of Luca Giordano.

SIMONE, Maestro. See Degl' Avanzi.

SIMONE DA CUSIGHE, (pa Belluno,) sometimes
also called Simone dal Peron, Cusighe and Peron
both being villages near Belluno. Simone died
before 1416, but the date of his birth is unknown.
In 1397 he finished the altar-piece for the high
altar in the Duomo of Belluno, receiving 440
lire for his work. In the Baptistery at Belluno,
there is an altar-piece in thirteen compartments by
him, formerly in the church of S. Martino. The
four lower i>anels were either added or entirely re-
painted in the 17th century. Another work is :
an altar-piece in the Casa Pagani, once in the
church of Sala. It is in nine panels, the Virgin of
Mercy in the centre, flanked by scenes from the
Life of S. Bartholomew. In the same collection
is a 'S. Anthony Abbot,' enthroned between Saints.
In the parish church at Sala there are some remains
of frescoes by him, and in the Chiesetta dell»
Madonna a few small panels in tempera.

SIMONE de' CROCIFISSI. See Bologxa, Simon e
da.

SIMONE PI MARTINO. See Martini, Sijiose.

SIMONE NAPOLITANO, an early painter at
Naples, all accounts of whom are, however, obscure
and doubtful. He is supposed to have flourished
about the end of the 14tli or first part of the 15tb
century, and various pictures at Naples have been
assigned to him, some of which, from the dates-
inscribed upon them, have clearly not a common
author. One of these in the church of San Lorenzo-
Maggiore is now proved, by an inscription which
it bears, to be the work of a Sienese painter, who
was probably established at Naples. The following
works at Naples are ascribed to Simone :

The Nobles and Statesmen of the Kingilom lamenting
the Death of King Robert. (In the nave of &.
Chia>-a.)

PAINTERS ANl> ENGRAVERS.

S. Louis of France and others at the grave of King

Robert. 13J3. (Hefectmy of S. Chiara.)
Saint Anthony. 1438. (S. Lorenzu Jfai/i/iore.)
S. Louis crowning King JRobert. (S. Lorenzo Magy'ore.)
The Crucifixion, a Triptych. 1412. (In the Uuomo.)
Madonna della Eosa. (S'. Domenico JTaygiore.)
A Virgin and Child, (i". Domenico Magyiore.)

One Francesco Simone is said to have been his
son and pupil.

SLMONE PAPA. See P.^pa.

SIMONEAU, Charles, an eminent French en-
graver, born at Orleans in 1G45, was instructed
by Noel Coypel and Guillaume Chasteau. His first
plates were executed with the graver only, in a style
resembling that of Poilly, but he afterwards intro-
duced the point, particularly in tlie half-tones and
distances. He engraved historical subjects, por-
traits, and vignettes. He was received into the
Academy in 1710, and died in Paris in 1728. His
plates number about one hundred and iifty ; among
them we may name :

Henrietta Maria, consort of Charles I.
The Duchess Dowager of Orleans ; after Riyavd.
Ch. Fr. de Brienne, Bishop of Constance ; after Dumu.
J. H. Mansart, Architect to the King ; after de Troy.
George Villier-, Duke of Buckingham.
The Holy Family ; after liapfael.
The Virgin and Child, with S. John ; after ilie same.
The Adoration of the Shepherds ; after Ann. Carracci.
Christ and the "Woman of Samaria ; after the same.
Hagar and Ishmael ; after A ndrea Sacchi.
A Madonna ; afttr Fra Bartoiommeo.
The Stoning of Stephen ; after Ann. Cay}acci.
Christ, with Martha and Mary ; after Donieiiichijto.
Christ's Entry into Jerusalem ; after C. Le Biuii.
Christ bearing His Cross ; after the same.
The Xatiiity ; after Aoel Coi/yel.
Christ among the Doctors ; after Ant. Coypel.
The Triumph of Galatea ; after the same.
Veuus curing the Wound of .^ueas ; after C. de la Fosse.
The Journey of Marie de' Medicis ; after liuhtns.
The Conquest of Franche-Comte ; after C. Le Biiin ;
his best print.

SIMONEAU, Louis, the younger brother of
Charles Simoneau, was born at Orleans in 1654.
He appears to have formed iiis style by an imitation
of the works of the Audrans. By combining the
point with the graver, he gave a jileasing variety
to his plates, and his drawing is correct. He died
in Paris in 1727. The following are, perhaps, his
best prints :

Giacinto Serroni, .Archbishop of Albi.

Antoine Amauld ; after Ph. de Champagne.

Antoine le Slaitre. Advocate ; after the same.

Martin de Charmois, Councillor ; after Seh. Bourdon.

Susanna and the Elders ; after Ant. Coypel.

Lot and his Daughters ; after the same.

Christ with Martha and Jlary ; after the same.

Christ bearing the Cross ; afcr Ant. Jjieu.

The Elevation of the Cross ; after the same.

The Crucifi.\iou ; afttr the same.

The Assumption of the Virgin ; after a ceiling by Le

Brim in St. Sulpice.
The Four Times of the Day ; four plates ; after the same.
The Four Seasons ; four plates ; after the ."^ame.
The ceiling of the PaWliou of Aurora, in the Jardin de

Sceaux ; in four plates ; after the same.

SIMONEAU, PHll-irpE, the son of Charles Si-
moneau, was instructed bj' his father. Either from
want of talent or application, he never made much
progress in art. We have the following prints by
him, which do not possess much merit :
The Rape of the Sabiues, and the Peace between the
Romans and the Sabines ; after tie pictures by Giulio
liomauo {? iiinaliio JIantovano) in the National
Gallery.

The three Goddesses preparing for the Judgment ul

Paris; after Perino del I'aya.
Venus and Auouis ; after Albarw.

SIMONELLI, Giuseppe, a Neapolitan painter,
born 1G49. Originally the servant of Luca Gior-
dano, he became a successful imitator of his style.
A 'St. Nicholas of Tolentino,' which he painted for
tlie church of Montesanto, was said to equal the
best work of his master. He died in 1713.

SIMONET, Jean Baptiste, au engraver of con-
siderable merit, was born in Paris in 1742. His
plates are chiefly after Greuze, Jloreau, Baudoin. and
.\ubry. He engraved 'Rachel hiding her Father's
Idols,' after Pietro da Cortona, for tlie Orleans
Gallery, the vignettes for au edition of Ovid's
' Metamorphoses,' published by Basan, and illus-
trations for an edition of Racine. He died in Paris
in 1810.

SIMONETTI, Domenico, (called Magatta,) a
painter of the Roman school, who flourishe 1 in the
18th century. He is mentioned by Lanzi as having
furnished many pictures for churches, especially
for the Suffjagio, at Rome.

SIMONINI, Francesco, born at Parma in 1689,
was a scholar of Ilario Spolverini. He painted
battles, and cavalrj' skirmishes, which were well
composed, and handled with spirit. He lived at
Venice, where he was still working in 175.S.

SIMONIS-E.MPIS, Catherine Edm^e, Madame,
a French landscape painter, born in 1806. She was
a pupil of Watelet, and died in 1878.

SIMONS, J. B., a Flemish painter, practising
about 1743. He is known by two signed pictures
in the Augustine churcli at Ghent.

SIMONS. M., a Dutch painter of still-life, of the
17th century. His works are mostly in America.

SIMONSEN, Niels, painter and sculptor, was
born at Copenhagen in 1807, and was first appren-
ticed to a house painter, but afterwards studied in
the Academy, and in 1826 in Lund's atelier. Later
in his career he devoted himself for some years to
sculpture, but finally reverted to painting, and
worked from 1833 to 1845 at JIunich. In the
latter year he returned and settled at Copenhagen.
He served in the Ci^rapaign of 1848, and painted
many of its incidents. He afterwards visited
Sweden and Italy, and died in 1H85. Two of his
pictures are in the Royal Danish Gallery.

SIMPLICE, a Veronese monk, who was the pupil
of Felice Riccio (Brusasorci). He practised at
Rome, and died in 1654, at a very advanced age.

SIMPOL, Claude de, (or Saint Pol,) a French
historical painter, born at Clamecy, was a pupil of
Boullogne. He was elected into the Academy in
1701, but expelled in 1709, for neglecting to send
in his reception-picture. His ' Christ at the House
of Martha and Mary ' was engraved by Dore and
Tardieu. He died in Paris, October 31, 1716.

SIMPSON, Francis, an English antiquarian
draughtsman, born in 1796. He was Mayor of
Stamford, and practised art as a pastime. He pub-
lished a volume of drawings from fonts, and died
in 1801.

SIMPSON, JouN, portrait painter, born in Lon-
don in 1782, studied at the Academy schools, and
was for many years assistant to Sir Thomas Law-
rence. In 1834 he went to Lisbon, and was
appointed painter to the Queen of Portugal. He
returned to England, and died in London in 1847.
In the National Gallery there is a ' Negro's Head '
by him, and at Windsor Castle a portrait of the
Duke of Brunswick.

A BIOGRAPHICAL DICTIONARY OF

SIMPSON, JosErn, the elder, practised in the
reign of Queen Anne. Accordinjj to Lord Orford,
his first employment was to engrave coats of arms
on pewter, but liaving a turn for drawing, he foun<l
access to a society of Artists, with whom lie Bludied
the figure. He was afterwards emplo3-ed by Tille-
mans to engrave his picture of Newmarket. To
this plate lie affixed his name. He also engraved
after Monamy, Vandevelde, Wootton, and Wyck.
Ho lived about the year 1710.

SIMPSON, JosErn, the younger, was tlie son of
Joseph Simpson, and died young, in the year 173G.
He engraved a plato of a ' Holy Family, with S.
John, S. Si-'bastian, and several Angt-ls,' after
Fihppo Laiiri, dated 1728, and a ' Cliarlcs 1.,' after
V'audyck.

SIMPSON, MAT'inKW, painter, taught drawing
to the children of Charles I., and settled later in
Sweden. He has left a miniature of the King,
signed J/. S.

SIMPSON, PiliLir, an English subject painter,
the son of John Simpson the portrait painter, prac-
tised in the early part of the 19th century. He
studied in the schools of the Academy, where he
exliibited up to 1836. There is in the Kensington
Museum a picture, 'I will fight,' by him.

SIMPSON, William, an English engraver,
working in 1635. He was chiefly employed by the
booksellers, and, among other things, engraved the
plates for Quarles' ' Emblems.'

SIMPSON, WiLLlASi, painter, lithographer, and
draughtsman, was born on Oct. 28, 1823, in Carrick
Street, Glasgow, where his father was an engineer.
At the age of fourteen he was apprenticed to a
lithograiiliic printer named Macfarlane, :ind then
worked for Messrs. Allan and Ferguson, a Glasgow
firm of lithographers, devoting his spare time to
sketching from nature in water-colours. In 1851
he came to London, found immediate employment
with Messrs. Day and Sons, the foremost litho-
graphers of their lime, and was at once occupied
in producing views of the Great Exhibition. In
1854 he commenced his career as the first war
artist, being sent to the Crimea by Messrs.
Colnagbi ; and for forty years was an eye-witness
of every great war and political event in the
history of our country. 'The Seat of War in the
East' was published by Colnaghi in 1855, con-
taining eighty chromo-lithographs after Simpson's
drawings. For Queen Victoria he painted a picture
of Balaclava, and this was followed b}' frequent
royal commissions for water-colours of leading his-
torical and domestic events of the Queen's reign. In
1859, after the close of the Indian Mutiny, Simpson
went by commission for Messrs. Day and Son to
India. He brought back 250 water-colour draw-
ings, but owing to the failure of the firm, fifty only
were published as chromo-lithographs in 18(;7
with the title ' India Ancient and Modern.' In
1866 he became special artist to the ' Illustrated
London News,' and visited Moscow with the
Prince and Princess of Wales ; in 1868 he joined
the Abyssinian Expedition, and in the following
year travelled over the new route to India. In
the course of this last journey he visited Jerusalem
and made several drawings for the Palestine
Exploration Fund. At the outbreak of the Franco-
German war in 1870 he started at once for the
front, and was in Paris during the Commune. He
accompanied the Prince of Wales to India in 1875.
visited Mycena-, Troy and Ephesus in 1877, and
went through the Afghan War of 1878. All these

campaigns and journeys were recorded in a ma<9
of water-colour drawings and pencil-sketches.
Many appeared as book-illustrations, and a large
number were engraved on wood in the 'Illustrated
London News.' As an artist he was an indefati-
gable worker, but he had manifold interests as a
student as well, and his book on 'The Buddhist
Praying-Wheel' is a valuable contribution to the
history of religious sj'mbolism in the East. Simp-
son was elected a member of the Royal Institute
in 1874, and exhibited there some fifty pictures in
all. The Victoria and Albort Museum possesses
over twenty of his water-colour drawings, and in
the Art Library are two volumes containing
several hundreds of his sketches in the Crimea
and in India. Simpson died at Willesden on
August 17, 1899. His Autobiography was pub-
lished in 1903. II. II.

SIMSON, George, a Scotch portrait painter, born
at Dundee in 1791. When young, he worked as a
printer, and did not devote himself to art till he
was thirty. He became a member of the Scottish
Academv, with whom his works were exhibited.
He died'at Edinburgh iu 1862.

SIMSON, William, painter, born at Dundee in
1800, was educated at the Trustees' Academy in
Edinburgh, and painted at first coast and river
scenes. In 1830 he was elected a Member of the
Royal Scottish Academy. After a stay of three years
in Italy, he settled in 1838 in London, where he
died in 1847. Of his pictures we may name:

Cattle Shed. 1S42. (Snuth Kensington.)
Gil Bias and Laura. (Do.)
Eel Pots: sketch from nature. 1S43. (Do.)
Scottish Peasants. 1842. (Do.)
(Above tKO are in wattr-coloiir.)
Boats at Dorilreclit. (Scot. Xut. GalUry.)
Tlie Twelfth of August. (Do.)
Solway Moss. (Do )
Goat Herd's Cottage, &c. (Do.)
Hagar and Ishmael. (iJriOgemiter Galltry.)
A Datch Family. (BoicooJ House.)

SINGHER, Hans, (or Jean,) was born at Hesse-
Cassel about the year 1510. He painted landscapes,
with figures, in a free, bold manner, and chiefly re-
sided at Antwerp, where he was received into the
Academy in 1543. He was much employed in
painting cartoons for tapestry.

SINGLETON, Henry, an English historical
paiuter, was born in London in 1766. His father
died while he was j'ct an infant, and he was brought
up by his uncle, a nnniature painter, by whom he
was instructed in drawing, fie became a student
of the Royal Academ}', and gained the gold medal
in 1788 ; the subject being ' Alexander's Feast.'
On that occasion he was highly praised by Reynolds.
For more than fifty years he was a constant ex-
hibitor at the Royal Academy, but never arrived
at membenship. His pictures are numerous, but
seldom exhibit much abilitj-. " Propose a subject
to Singleton," said West, " and it will be on canvas
in five or six hours.'' As might have been expected,
work that cost so little was destined to a short
existence. Some of his drawings for books were
popular, as well as some sentimental scenes on a
larger scale. Among his best works were ' Christ
entering Jerusalem,' ' Christ healing the Blind,'
' Coriolanus and his Mother,' ' Hannibal swearing
Enmity to the Romans,' ' Storming of Seringapatam.'
' Death of Tippoo Sahib,' and 'Surrender of Tippoo's
Sons as Hostages' ; all of which were engravedin
mezzotint, and were popular for a time. Two pic-

PAINTERS AND ENGRAVEKS.

tures of liis belonging to the National Gallery have
been deposited in the galleries of Leicester and
Coventry respectively. He painted also a series of
small pictures from Shakespeare. They show more
imagination and better colour than his larger works.
He occasionally painted portraits. Singleton died
in London in 1839. His sister, Sarah Singleton,
exhibited miniatures at the Academy from 1790 to
1820. Other miniature painters of the same name,
who exhibited about the same time, were probably
his relatives.
SINIBALDL See Ibi.

SINJEUR, GovERT, a painter of Rotterdam, who
painted in the manner of Philips Wouwerman, in
the 17th century.
SINT-JANS, Geerit van. See Haarlem.
SINTRAMME, — , one of the earliest of the
miniaturists. He was a monk of St. Gall, and
practised in the beginning of the 10th century.

SINTZENICH, Heinrich, (Sinzenich,) an en-
graver in the chalk and dotted manner, and in
mezzotint, was born at Mannlieim in 1752. After re-
ceiving some elementary instruction in the academy
of that city, he was sent to England at the expense
of the Elector to complete his studies under Bar-
tolozzi, with whom he remained about four years.
On his return to his own country he was appointed
engraver to the court, and engraved many plates
in the English styles. He was a member of the
Academies of Munich and Berlin. He died at
Munich in 1812. Nagler has described fifty-four of
his principal plates. The best are :

Portrait of Rafael Mengs ; after himself.
Cassandra ; after Hicktt.

SINTZENICH, Pieter, (Sinzenich,) engraver,
brother of Heinrich Sintzenich, was in London in
1789. He engraved ' The Truce between the
Romans and Sabines,' after Raphael.

SIPMANN, Gerhard, (Sippmann.) painter, born
at Dijsseldorf in 1790, was trained at the Diissel-
dorf Academy and at Munich, under Langer and
Cornelius. He painted at first portraits and his-
torical scenes in oil, but was afterwards employed
on arabesques for Cornelius, in the Glyptothek.
From 1823 onwards he occasionally painted land-
scapes. He died at Munich in 18G0.

SIRANI, Elisabetta, the eldest daughter of
Giovanni Andrea Sirani, born at Bologna in 1638,
was instructed in art by her father. Her first
public commission appears to have been won in
1655, when she was seventeen years of age. She
was a clever imitator of Guido, and was already
famous, when she was poisoned by her servant
in 1665. In spite of her early death, slie left
upwards of a hundred and fifty pictures. We may
name :

Bolognu. Cerlosa. Baptism of Christ.

„ Pinacoteca. The lofaut Chiist, «ith S.

Authony of Padua in Adora-
tion. And eight others.

Munich. Pinakothek. An Allegory.

Also pictures in the Palazzi Zampieri, Caprara,
Zambeccari at Bologna ; and the Palazzi Corsini
and Bolognetta at Rome. She also produced a few
good etchings ; among them the following •

The Virgin in the Clouds holding a Kosary, w ith the
iufant Jesus ; from her own design.

The \'irgin weeping, surrounded by Augels, and con-
templating tlie emblems of Christ's Passion ; Ulisic
bttta -Sirnni, F. 1657.

The Holy Family ; afUr Raphael : Elisabeiha Sirani, sie
incifjim exjtosuit.

I The Mother of God ; after the same.

St. Eustacius kneeling before a Cruci3.x ; E'isalietha

Siram,f. 1656.
The Decollation of St. John ; Elka. Sirani, f. 1657.

SIRANI, Giovanni Andrea, born at Bologna in
1610, was one of the favourite disciples of Guido
Reni. After the death of his master he was
employed to finish several of his works in the
churches at Bologna, particularly the large picture
of S. Brunone, at the Certosini. His first produc-
tions resemble the second style of Guido. He
aften\'ards adopted a more violent system of light
and shadow, approaching that of Michelangelo da
Caravaggio. He died in 1670. Works :

Dologna. S. Mariino. The Crucifi-Kion.

„ Certosa. The Feast at the House of

Simon the Pharisee.
„ S. Gioryiu. Marriage of the Virgin.

„ Finacotcca. Preseutatiou in the Temple.

He etched a few original plates, which l-.e usually
marked with the initials G. A. S. or I. A. S. ; among
them we may name :

Apollo and Marsyas ; oval.

Death of Lucretia.

SIRCEUS, Philippe. See Soye, Philippe.

SIRIES, Violante Be.\trix, born at Florence in
1710, wa.s taught pastel and water-colour by
Giovanna Fratellini. She afterwards went to
Paris, where she studied under Boucher and
Rigaud. Her talent was chiefly shown in portraits,
though she occasionally attempted historical sub-
jects, as well as flowers and fruit. On her return
to Florence from France, she was employed to
p.iint a large group of the Grand-Ducal Family.
Her own portrait is in the UfBzi. She died about
1770.

SISLEY, Alfp.ed, landscape painter, the son of
English parents, was born in Paris on October 30,
1840. He was a pupil of Gleyre, and at first
worked under the influence of Corot and Courbet,
painting conventional pictures in grej'S and browns.
His first exhibit was at the Salon of 18GG, his
picture being entitled ' Fenimcs allaiit au Bois,'
and he continued to show his work there till 1870.
Shortly after this time his friendship with Renoir
and Manet caused an entire change in his style.
He studied earnestly the sparkle of light in land-
scape, and was in the vanauard of the Impressionist
Movement in France. With Degas, Monet, Pisarro,
Cfeanne, and others, he joined in the now historic
Exhibition of 1874 at Nadar's Galleries in Paris.
He lived at Moret-sur-Loing, and painted chiefly
in the country round Paris, though he paid frequent
visits to England, working for a considerable time
at Hampton Court and elsewhere on the Thames.
Among his more important pictures are : ' Bordsdu
Loing, pres Moret,' ' Route de Louveciennes,' ' La
Seine h, Saint-Mammes,' ' Lisifere de la Foret de
Fontainebleau,' ' Le Pont de Moret-sur-Loing,' and
' L'Eglise de Moret-sur-Loing.' His ' River Bank,'
a coloured lithograph, was shown at the Exhibition
of the International Society in London in 1898 ;
and in the following year, after his death, his
' Foret de Fontainebleau ' and ' La Plaine de
Champagne.' Some studies by Sisley are in the
Caillebotte Bequest at the Luxembourg. His life
was somewhat embittered by want of public
appreciation, and he died on January 29, 1899,
at JIoret-snr-Loing. l[. H

SISSON, — , anlrish portrait painter of the 'l8th
century. Burke speaks of having had his portrait
painted by him in miniature.

A BIOGRAPHICAL DICTIONARY OF

SIXDENIERS, Alexandre Vincent, engraver,
bom in Paris in 1795, worked under Villerey. He
won a considerable reputation, and was more than
once premiated at the Salon. He worked first in
line, afterwards in mezzotint. He was drowned in
the Seine, in Paris, in 1846. Plates :

Endymion ; after Girodet.

Charlotte Cortlay ; after Scheffer.

The Village Bride; iftcr Greuze.

Posting iu the Desert; after I'eniet

Arab praying ; after the same.

Edward I. iu Scotland ; after Delaroche.

Napoleon and the King of Home ; after Steuljen.

SJOLLEMA, Thierry Piebes, a Dutch painter of
landscapes and sea-pieces, born at Terbantsterchans
in 1760. His works are almost entirely confined to
Friesland. There are two pictures by hiui in the
museum at Leeuwarden. He died at Heerenwal in
1840.

SKELTON, Joseph, engraver, flourished early
in the 19th century. He was a younger brother
of William Skelton, and studied in London. He
afterwards went to Paris, and worked from the
pictures at Versailles. His latest plates are dated
1850. Among the works he illustrated are :

' The Antiquities of Bristol.'
' Cautabrigia Depicta.' 1809,

* Oxouia Autiqua Kestaxirata.* 13:23.
' Antiquities of Oxfordshire. ' 1823.
'Pietas Oxouieusis.' 1828.

* Meyrick's Arms and Armour.' 1830.

SKELTON, William, engraver, was born in
London in 1763. He belonged to a Yorkshire
branch of the Cinuberland Skeltons. lie was some
time pupil of James Basire and of William Sharp.
When he first set up for himself, his patrons were
Sir Richard Worsley and Charles Townley ; then
Boydell and Macklin ; and still later, the Dilettanti
Society, for whom some of his best engravings
were produced. At the close of his career he pub-
lished a series of royal portraits, from the time of
George III. down to the accession of Victoria,
which was commercially successful, and enabled
him to perform many acts of charity. Skelton
died in Upper Ebury Street in 1848.

SKILL, F. J., a landscape painter who is be-
lieved to have been born about 1824. He was
a member of the Institute of Painters in Water-
Culour, and spent some years at Venice, where ho
executed some of bis most charming sketches. He
exhibited frequently in Paris, but, altliough living
in England, was comparatively little known in art
circles of his daj-. He died, JMarch 8, 1881, of a
broken he.irt, having failed to attract public atten-
tion. Two of his best works are at S. Kensington.

SKILLMAN, William, an English engraver,
who flourished about the year 1G06. Anjong other
plates he engraved a view of Albemarle House,
and another of the Banqueting House, Whitehall.

SKIPPE, John, a native of Ledbury, was a
gentleman of education, and an amateur artist.
He was a Gentleman Commoner of Merton College,
Oxford, and studied landscape painting under
Claude Vernet. Inspired by a print of LTgo da Carpi,
after Raphael's cartoon of the 'Miraculous Draught
of Fishes,' he engraved in chiaroscuro a luiniber of
subjects, chiefly alier the designs of Parmigiano,
Correggio, Raphael, and other masters of the
Italian School, which he published from about the
year 1770 to 1812. It is supposed that he was a
pupil of John Baptist Jackson. The dates of his
birth and death are unknown.

SKIRVING, Archibald, painter, was born at
Haddington in 1749. He studied for some time in
Rome, and towards the close of the 18th century
practised in London, working principally as a
portraitist in chalk and crayon, and also painting
miniatures in water-colours. At the begiiming of
the 19th centur}' he was established in Edinburgh,
where he became well known both by the excel-
lence of his art and the humorous eccentricity of
his character. He died in 1819. The portraits of
Professor Dugald Stewart and William Berry in
the National Portrait Gallery (Scotland) are by
him, also a portrait in the Scottish National Gallery.
Andrew Geddes etched Skirving's portrait.

SKJOLDEBRAND, a Swedish painter, who went
in 1799 with Acerbi to the North Cape, and on his
return published a work on his travels. In 1804
he also published a volume of views of the Troll-
hatta Falls. He died in 1835.

SKOOVGAARD, Peter Kristian, a Danish
landscape painter, was born at Hammerhus, near
Ringsted, in 1817. He received his first teaching
from his mother, and then at the age of fifteen
entered the Copenhagen Academy. His first work,
a Moonlight Landscape, was purchased in 1836
by Christian VIII. He afterwards travelled to Rome
and Naples, studied Titian and Claude, but con-
tinued faithful to Danish scenery for his subjects.
In 1864 he became a member of the Academy at
Copenhagen, where he died in 1876.

SLABBAERT, Karel, (SLABBARD,) a Dutch
genre painter, flourislied in the 17th century. It
is supposed that he studied under Gerard Dou.
His pictures are not common ; there is one in the
Museum at Amsterdam, an interior with a woman
cutting bread, and two children praying. In 1645
he was living in Amsterdam, but he is supposed to
have been a native of Middelberg, where he was
buried in November, 1654.

SLANGENBURGH, Karel Jakob Baar van, an
obscure painter of portraits and interiors, was bom
.at Leeuwarden in 1783. He died about 1850.

SLANGENSCHILDER. See Vromans.

SLATER, Joseph, an English decorative and
landscape painter, practised early in the 18th
century. He was engaged on decorative work at
Mereworth Castle and at Stowe.

SLATER, J. W., a miniature painter of some
merit, who settled early in life in Ireland, and
practised with success in Dublin in the second half
of the 18tli century. He subsequently returned to
England, and exhibited at the Academy in 1786
and 1787.

SLATER, T., an English engraver who flourished
about the year 1630. He engraved, among others,
a portrait of George Webbe, Bishop of Limerick.

SLAUGHTER, Stephen, portrait painter, was
practising in Ireland between 1730 and 1740. He
afterwards became keeper of the king's pictures,
and lived towards the close of his life at Ken-
sington, where he died in 1765. In the National
Portrait Gallery there is a 'Sir Hans Sloane'by
him, and at Blenheim Palace, portraits of the Hon.
J. and Lady G. Spencer. His sister was also an
artist.

SLEAP, Joseph Axe, water-colour painter, was
born in London, May 30, 1808. He was an artist
of much ability, but his life was embittered by a
perpetual struggle against poverty, which crippled
his powers. He was beginning to win his way to
fame and recognition, when he died at the age of
fifty-one, October 16, 1859. His ' St. Paul's, from

PAINTERS AND ENGRAVERS.

Paul's Wliarf,' in the Glasgow Gallery, is a good
example of liis work. There is also at South Ken-
sington a view of Lago Maggiore by him. His
works are little known, as he never contributed to
the principal London Exhibitions.

SLEMPOP. See Vihschen, Theodor.

SLINGELANDT, Pietek Cohnelisz van, born
at Leyden in 1640, was a pupil of Gerard Dou.
He followed the style of his master, and as far
as patience and polish are concerned, he may be
said to have equalled, if not surpassed, his in-
structor; but in character, chiaro-scuro, and design,
he is far inferior. Houbraken declares that he was
occupied three whole j-ears on the family por-
trait of the Meermans, and that he was employed
a month in finishing a rufE He died in 1691. His
chief works are :

Amsterdam. Museum. Violin Player. SigueJ P.

V. SUvyerlnnd fecit.

Dresden. Gallei'y. The Music Lesson.

„ „ A Singing Woman.

Glasgow. Gallery. The Doctor's Visit.

„ ,. A Musical Party.

Loudon . Jjtridgeiftiter House. Cooks with Partridges.

Munich. Pinakotliek. A Tailor's Shop.

„ ., A Woman at a Window.

Paris. Louvre. The Meerman Family.

Petersbur.'. Hermitaye- A Family Group.

SLINGENEIJER, Ernest, Belgian painter;
bom May 23, 1823, at Loochristy, near Ghent;
oecame a pupil of J. Wappers. He paiuted
historical subjects, including a cycle of twelve
notorious events in Belgiau liistory, which are at
the Academy of Brussels. He painted the 'Bataille
de Lepanto,' now in the Brussels Museum ; also
many Italian genre piieces ; was a member of the
Brussels Academy, a Commander of the Leopold
Order. &c. He died at Brussels, April 27, 1^94.

SLOANE, Michael, engraver, a pujnl of Bar-
tolozzi, who practised up to the beginning of the
19th century, and engraved the ' Notle,' after Cor-
reggio, 'The Christening,' after Wheatley, and
other works.

SLOCOMBE, C. P., held important office as art
teacher in the South Kensington Science and Art
Department from its early d;iys at Somerset House,
.md was connected with it for many years. He
devoted himself to etching, and his work became
well known and esteemed. In this medium he
reproduced successfully many of the works of
J. Pettie, R.A., and Frank Holl, R.A., and also
etched after Rembrandt and the old masters. His
original etchings are landscapes, frequently wood-
land scenes. For the last fourteen years of his life
he was laid aside by paralysis. He died in 1895,
it the age of sixty-three. J. H. W. L.

SLUYTER, P., a Dutch engraver, who flourished
ubout the year 1700. He was principally employed
m engraving frontispieces and other book orna-
ments for the publications of Peter Van der Aa.

SMAK-GREGOOR, Gillis, painter of landscapes
and animals, was born at Dordrecht in 1770. He
was the nephew and pupil of the Van Stxys, and
also studied under Versteeg and Van Lei>n. He
died in 1843.

SMALLWOOD, William Frome, architectural
draughtsman, born 1806, was the son of a hotel-
keeper in Covent Garden. He was a pupil of Cot-
tinghara, and exhibited a number of sketches at
the Royal Academy and at Suffolk Street from
182i3 to 1834. Many of his drawings were repro-
duced in the 'Penny Magazine.' He died in
1834.

SMARGIASSO. See Ciafferi.
SMART, John, was born at Leith in 1838, and
educated there. He was apprenticed to his father,
an engraver and lithographer, and studied in the
School of the Board of Manufactures, and then
under Horatio McCuUoch, R.S.A. In 1860 he ex-
hibited for the first time at the Royal Scottish
Academy, ' Peeps thro' the Trees,' and constantly
exhibited afterwards. He early gained popularity,
and in 1871 was elected an Associate, and in 1877
an Academician, of the Royal Scottish Academy.
He devoted himself to landscape, and particularly
delighted in rendering the moors and lochs and
mountains of the Highlands of Scotland. He also
painted in Wales and the Lowlands. He painted
much in the open air, and his work is fresh and
sincere, charming in colour and choice of subject.
The tender pathos of his homely genre pictures
made them very popular. He exhibited regularly
at the Glasgow Institute and the Royal Academy,
and in 1889 a Highland landscape was favourably
received at the Salon. He was an original member
of the Royal Scottish Society of Painters in 'Water-
Colour. In that medium he painted a series of
the golfing greens of Scotland. Among his best
pictures are, 'The Graves of oor ain Folk' (1874),
'The Gloom of Glen Ogle' (1880), 'The Land
of the MacGregor,' 'Where Silence Reigns,' 'A
Dream of Strathearn,' and 'Far from the Busy
World ' (diploma picture in the Scottish National
Gallery). He died in 1899. J. H. W; L.

SMART, John, the most important of the
miniature painters of the eighteenth century. He
was born about 1741, at a small village near
Norwich. He was educated at the St. Martin's
Lane Academy, and then he became a pupil of
Daniel Dodd. He exhibited first with the Incor-
porated Society of Artists, and later on became a
Director and Vice-President of that Society. He
appears to have been a great friend of Richard
Cosway, and for a while his connection with that
artist must have been somewhat in the relationship
of master and pupil, inasmuch as Cosway in his
letters refers to some tuition which he gave to
Smart. Tlie fact is a rather curious one, as there
is no artist of that period who would appear to
have had so little connection with Cosway as does
Smart. His work has none of tlie flippancy of
Cosway, but is much more serious in quality and
subdued in colouring, while certainly no other
artist gave such careful attention to representing
the face. His knowledge of the anatomy of the
human face must have been quite extraordinary,
so perfectly are the muscles and bones represented
in his work. His colouring as a rule is cool and
grey, although in the faces he can be detected by
the use of a tint somewhat too much resembling
the colour of brick-dust to be perfectly illustrative
of flesh. He married Edith Vere, and resided at 4,
Russell Place, Fitzroy Square. He had one son,
John Smart, and it is possible that he had a
daughter also, whose married name was Dighton.
Smart went to India in 1788, and remained in that
country for five years. His son, John Smart,
junior, accompanied him, and died at Madras in
1809. The father returned to England after five
years' sojourn abroad, settled down in London, and
died in 1811. He was famous for his pencil draw-
iugs, and appears to have sketched each portrait
in pencil before he painted the miniature. A
I large number of these pencil portraits, together
with several of his sketch-books, came, after his

A BIOGRAPHICAL DICTIONARY OF

d?ath, to Miss Smart, who appears to have been
his only sister, and slie bequeathed them to l)er
frreat friend Mary Smirke, tlie dangliter of Robert
Siuirlce tlie architect, and in this way it happens
that in tlie possession of two descendants of tlie
Smirke family there is quite a large collection of
pencil drawings by this artist. Two fine drawings
esecuted by liim in India, and representing the
two sons of Tippoo Sahib, are in the British
.Museum. Smart was a man of short .stature, and
i=i generally alluded to as " little John Smart.''
He would appear to have been a man of very high
personal character, as Cosway refers to him as
"honest John Smart," "good little John,'' and
"faithful John." He was a member of the little-
known religious sect called the Glassites or
Sandemanians, a form of faith which will be
notable from the fact that Michael Faraday was
a devoted adherent of it. Smart was a man of
very simple habits, spending nothing upon his
clothes, and very little upon his food. Tliere are
two distinct periods in his arts, the early works,
done about 1770, being far more exquisite in their
effect than were the later works. His earlier
portraits were as a rule of very small size, and
closely resembling enamel. They are remarkable
for the extreme minuteness of their execution.
His latter works, painted in Inili.i, can be known
by the addition of a capital " I " marked under-
neath his signature, and those miniatures and the
portraits he executed when he returned to London
are almost perfect examples of what miniature
painting should be. They are distin_!;uished by a
reserve of strength, a greatness of power, and a
subtlety of colouring, which mark out their creator
as a man of exalted genius. Smart was on friendly
terms with the artist Toussaint, and many of his
miniiiturcs are to be found in beautiful gold or
steel frames, designed and made by this clever
jeweller. Tliore are many fine examples of his
miniature work in the collections of Mr. E. M.
Hodgkins, Mr. J. Pierpoint Morgan, Sir Spencer
Walpole, Mr. George Salting, Lord Hothfield, Earl
Beiiuchanip, and the Duke of Richmond and
Gordon, and one example can be seen in the
Wallace Collection. Of his earliest enamel-like
portraits the finest example is the portrait of Ann
Brograve belonging to Miss Ffoulkes. Of the
work of John Smart, junior, the most notable
example belongs to Mr. Gerald Ponsonby.

SMAHT, Samuel Paul, a painter of miniature
portraits, practising in London. He exhibited at
the Academy from 17G9 to 1787.

SMEES, Jan, a Dutch landscape painter and
engraver, who lluurished in the first quarter of the
18th century, and is supposed to have died in
1729. To judge of him by his five known etchings,
he must have p)ainted in the manner of Jan Both.
These etchings consist of landscapes enriched with
figures, animals, buildings, and ruins ; and are
signed J. Sine.es in. et fecit.

SMETHAM, jAiaiis. This artist is better known
by his writings than his paintings. His essays on
Reynolds and on Blake, and his letters, are
admirable examples of bright composition and
clear statement. He was the son of a Wesleyan
minister, born in 1821, and was educated at a
Wesleyan school, becoming a drawing master at
the Normal college. He had little sympathy with
his own literary work, and the greatest love for
art, and a firm belief in his own ability in that
direction, but he never was successful in claiming

public attention. His pictures were rejected over
and over again, and his illustrations were returned
on his hands. Up to a certain point his work had
excellence, but it never became really great, .
although his early admirers, amongst whom were
Ruskin, Rossetti, and Ford Madox Brown,
prophesied great things about him. It appeared
at one time as though he would join the pre-
IJaphaelite Brotherhood, and become as eminent
as any of them, but his work was too poetic,
and his drawing was never quite satisfactory.
Many of his best pictures passed into the
[lossession of Mr. J. S. Budgett of Stoke Park,
Guildford, who was always a warm admirer of his
genius, and who assisted him from time to time
with considerable generosity. He was, however,
a disappointed and dejected man, who struggled
all his life against opposition. For the last ten
years of his life he was a complete invalid, all his
physical and mental force having broken down
from the unceasing strain of his earlier career.
After his death in 1889 his literary work became
better known, and the credit the world refused
him during his life was quite freely given to his
work after his decease. A sketchy and incomplete
memoir of him appeared in 1891, written^ by a
Mr. William Davies, and afiixed to an addition of
his letters. He exhibited at the Royal Academy:

Christ at Emmaus. 1851.

Binl-catchers. 1852.

The Flageolet. 1853.

Two Portnits. 1854.

Counting the Cost. 1855.

Robert Levett. 18G2.

Tlie Moorland Edge. 1863.

The Hymn of the Last Supper. 1869.

In the possession of Mr. Budgett are, 'The
Hymn of the Last Supper,' 'The Women at the
Crucifixion' (1857), 'Sad Hesper' (1871), illus-
trating Tennyson's words in ' In Memoriam,' canto
cxxi. f ' The First Passover,' ' All in the Wild
March Morning,' 'The Gossips,' &c. Lady Mount
Temple purchased the study for 'The Hymn of
the Last S.ipper'; 'TheDrenmof Pilate's Wife'
belongs to Mr. J. F. Hall, and other pictures in
private hands are, 'The Lady of Shalott' (1852),
and 'Prospero and Miranda' (1871). Messrs.
Shepherd Brothers own 'The Death of Earl
Siward ' and ' The Enchanted Princess.' Smetham
executed many remarkable etchings, the best of
which were published in book form as an 'Artist's
Sketch Book.' He was a warm friend of Bell
Scott, and it was due to his encouragement that
Smetham took up with etching and carried out
some domestic decorating work, liuskin, greatly
admiring the genius of the man, purchased many
of his sketches and carried on a very iiiteresting
correspondence with him.

SMETS, Christian, a Flemish painter of the
16th century, a native of Mechlin. He came to
France in 1550, and entered the service of Henri
d'Albret, grandfather of Henry IV.

SMEYERS, GiLLis, (or ^oiPius,) the elder, bom
at Mechlin in 1635, was the son (?) and pupil of
Nicolas Smeyers. He also studied under J. Ver-
hoeven. He married Elizabeth Herregouts, daugh- j
ter of the painter, David Herregouts, and had by i
her three sons, Jakob (q.v.), Jan, and Justin. They
all became painters, and were members of the i
Guild of St. Luke at Mechlin, but only Jakob hao |
li'ft any trace in the history of art. In 1657 |
Gillis Smeyers was made free of the Guild of S.

PAINTERS AND ENGRAVERS.

Luke, and in 1682 he was acting as treasurer for
the society. He was the close friend of Luciis
Franchoys II., and finished an ' Assumption ' begun
by the latter. Smeyers died in 1710. Worlds:

Brussels. JIuseum. St. Norbert consecrating two

Deacons.
„ „ Death of St. Norbert.

Mechlin. lluseutn. The Deans of the Tailors' Guild

at Mechlin, 1695.
„ Church of S. John. The Benefits of the Holy

Trinity.
„ Seminary. The Resurrection of Lazarus.

And other worlcs at Meclilin.

SMEYERS, GiLLis, (or jEgipius.) the younger,
painter, was the son of Jakob Smeyers, and was
born at Mechlin in 1694. His father wished him
to become a painter, but the young man himself
showed a preference for historical studies. At the
age of twenty-one, however, he decided for art as
a profession, and started for Dijsseldorf, under the
protection of the Baron de Loe. Here he studied
for three years under the painter Douven, of
Ruremonde, but was recalled to Mechlin by the
necessities of his parents, who had both become
blind. He maintained them in their infirmity,
1. orking as a decorative painter wlien other com^
i:iissions failed, and began also to utilize his
earh- literary studies, by writing articles for the
■ Bibliotheca Belgica,' and for Descamps' ' Lives
of Painters.' He was the author of u supple-
ment to Van Mander's ' Lives of Painters,' com-
piled a complete inventory of works of art ;it
Mechlin, with notices of Mechlin artist.s, ami
wrote a Life of Rubens, the MS. of which he sold
in his old age. His talents and industry, how-
ever, failed to secure him against poverty, for
towards the close of his life, when attacked by
disease, he was obliged to sell his library to gain
admittance into the hospital at Mechlin, where he
died in 1774. The following of his works are to
be found at and near Mechlin :

Portrait of the Chanoine de Laet. (Grand Seniinari/.)
Fall of the Angels.

History of S. Dominic. {Oiurch of S. Eomltaitt.)
Pentecost. (Convent of the Black Xuns.)
Allegorical Groups. {Convent of the i'oeurs .^faricolla.)
Portrait of Cardinal d'Alsace de Boussu. (.Vuscmn.)
The Deans of the Tailors' Guild in 1735. (Museum.)
Episode in the History of the Dominicans. (.Tfuseuin.)
Portraits of Children. (Xotre Bame, Hansict/ck.)
Several Pictures. (Church of Assche.)

SMEYERS, J.\KOB, painter, born at Mechlin in
1657, was the son of Gillis the elder. He was his
f ither's pupil, and entered the Guild of St. Luke
in 1688. fie painted history and genre, but was
more successful with portraits. In the church of
S. Catherine at Mechlin there are a ' Temptation of
S. Anthony' and a ' Holy Family ' by him, and in
the convent of the Bl.ack Nuns a picture of the
Sisters adoring the Trinity. He died at Mechlin
in 1732.

SMIBERT, JoHK, (Smybert,) bom at Edin-
burgh about the year 1684, served his time with
a common house p.ainter. He came to London,
where he was forced to content himself with work
for coach painters. He was afterwards employed
in copj-ing for dealers. He studied for a time in Sir
James Tliornhill's Academy, and then went to
Italy, where he spent three years in copying Titian,
Vandyck, and Kubens, and improved enough to be
largely employed on portraits after his return.
AVhen he had thus surmounted his early difficulties
he was tempted to embark in the scheme of the

Bishop of ClojTie, for the erection of a universal
college of arts and sciences in Bermuda. The
death of the King, his patron, put an end to the
Bishop's project, but Smibert, who had set sail,
had resolution enough to proceed, and settled at
Boston, in New England. There he married a
lady of fortune, and continued the practice of his
art, exercising great influence on American artists.
He died at Boston in 1751, leaving two children,
one of whom, Nathaniel, became an artist.

SMIES, Jakob, born at Amsterdam in 1765,
painted a few pictures, but was better known as a
drawing-master and illustrator of books. He died
in 182.5.

SMIRKE, Rlcn.^RD, antiquarian draughtsman,
bom in 1778, was the brother of Sir Robert Smirke,
and was brought up an artist, studying in the
Academj' schools, where he gained a gold medal
in 1799. Eventually he abandoned painting for
the study of antiquities, and became known as
an accurate draughtsman of such subjects. He
was much emplo3-ed by the Society of Antiquaries,
and made for that body a series of facsimiles
from the ancient paintings in St. Stephen's Chapel.
Westminster. He died May 5, 1815.

SMIRKE, Robert, an excellent English painter
of humorous and sentimental subjects, was born
at Wigton in 1752. At the age of nineteen he
became a student at the Royal Academy, but did
not exhibit there till the year 1786 ; in 1792 he
was elected an associate, and in the same year an
academician. It is said that he painted arms on
coach panels ; so did Catton, whose name is among
the first forty of the Koyal Academicians. His
pictures are numerous, and generally of small
dimensions, as they were mostly painted to illus-
trate plays, poems, or novels, and intended for
the eugravers. Such compositions he carried out
mostly in monochrome, or with but very slight
indications of colour. His favourite subjects are
from Scripture, English historj', Shakspeare, 'Don
Quixote,' the ' Ar.ibian Nights,' &c. Tliose for the
story of ' The Hunchback,' engraved by Daniell,
are in his happiest manner. He continued to
practise his art tiU late in life. It is said that
las last works were the designs for the bas-reliefs
in front of the Oxford and Cambridge Club
House in Pall Mall, of which his sons were the
architects. He had formerly designed the bas-
reliefs for the Junior United Service Club, at the
corner of Charles Street and Regent Street, also
built under the same direction. Smirke died in
London in 1845. A series of illustrations to ' Don
Quixote ' have been deposited by the National
Gallery authorities in the Mi.seum of Stoke-upon-
Trent.

SMIRKE, Sydney, a very clever architect, born
in 1798, brother to Sir Robert and Sir Edward
Smirke. He will be remembered for his erection of
the Exhibition Galleries at Burlington House, the
Pantheon in Oxford Street, the Carlton Club, and
Gunnersbury Park, but his sketches in Sicily give
him a right to be mentioned in this volume. He
was a very successful man, and piopular amongst
his brother architects. He travelled a good deal,
and wherever he went filled his sketch-books
with bold, fresh drawings, ofen marked by un-
usual beauty. He died in London in 1877.

SMIT, A.VDi'.EAS, a Dutch painter of marine
subjects, lived about the middle of the 17th century.
Thi.-re is a good sea-piece by him in the Berlin
Gallery. There was also an AuxoLD Saiit, who

A BIOGRAPHICAL DICTIONARY OF

lived about the siime period, and painted land-
scapes and sea-pieces. His large pictures of marine
subjects resemble tlie darkest of Backhuysen. There
is a sea-piece signed A- Sniit, in the Copenhagen
Gallery, attributed to him. Perhaps the two men
are identical.

SMITH, Anker, an excellent engraver of small
plates in line for books, was born in London in
1759. He received his education at the Merchant
Taylors' School, aud was afterwards articled to his
uncle, an eminent conveyancer. He soon quitted
him, however, for an engraver of the name of
Taylor. This master instructed liim in the me-
chanical part of the business, and his natural talent
soon enabled liim to surpass his teacher. He
became an assistant to James Heath, in whose
name he is said to have executed several plates,
among them tlje 'Apotheosis of Handel.' Bed, who
was now publishing an edition of the British Poets,
engaged him to engrave the plates for it ; and he
was soon employed by other publishers. He also
engraved several of the jdates for Smirkc's edition
of ' Don Quixote.' It is said that he practised
<Jt one time under Bartolozzi. He was one of the
engravers employed by Boydell on the ' Shakspeare
Gallery' ; the print of 'The Death of Wat Tyler,'
after Xorthcote, obtained his election to the Royal
Academy. He engraved the plates for an edition
of Shakspeare edited by Wood, for the works by
Coombe, on ' Tlie Ancient Marbles and Terra-
cottas in the British JIuseum'; also several plates
after Leonardo da Vinci, Titian, and Correggio.
He died in 1819.

SMITH, Benjamin, an engraver in the chalk
and dotted manner, was born in London ; the year
of his birth is not clearly ascertained. He was a
pupil of Bartolozzi, and was one of the engravers
employed by Boydell on his 'Shakspeare Gallery,"
some of the best plates in which are by him. He
engraved chiefly after contemporary painters.
Among his works are the following :

Christ be.aIiDg the Sick ; afUr B. West.

St. Peter's first Sermon ; aft^r the same.

Au Allegory of Provideuce; after J, F. liiijaud.

An Allegory of Innocence ; after the same.

Sigismuuda ; after Hoyatih.

Bacchus ; after Sir J. Reynolds.

Shakspeare nursed by Tragedy and Comedy, aud

The Infant Shakspeare attended by Isature and the

Passions; both after Romney.
An equestrian Portrait of George III. ; after Beechey.
The Portrait of Napoleon ; after Appia)ii.
William Hogarth and his Dog ; after Hoijarth.
The Marquis Cornwallis ; afttr Copley.
The Annual Ceremony of Administering the Oath of

Allegiance to the Lord Mayor elect, &c.
Scene from ' Richard II.' ; after Mather Brown.

Smith died in 1833.

SMITH, Charles, portrait painter, native of the
Orkneys, studied in London. In 1793 he resided
in Edinburgh, and exhibited a ' Nymph ' and an
' Infant Bacchus,' and the same year went to
India, where he was appointed painter to the
Great Mogul. In 1796 he returned to London,
and exhibited an 'Andromeda,' a ' Cymon and
Iphigenia,' and other works. In 1802 ho published
a musical entertainment, in two acts, called a ' Trip
to Bengal.' He etched his own portrait. He died
at Leith in 1824.

SMITH, Charles John, an engraver, was born
at Chelsea in 1803. He was the son of an eminent
surgeon, resident there for many years. He was
instructed in the art of engraving by Charles Pyn.

He became skilful in his profession, and was ex-
tensively employed in the best auti([uarian and
topographical publications of the time. Among
these are Stothard's 'Sepulchral Effigies,' Cart-
wright's ' Rape of Bramber,' Murray's ' Illustrations
of Johnson,' Dibdin's ' English Tour,' and others,
some of which were published privately. In 1828
he engraved a series of facsinule autographs of
illustrious persons from the reign of Richard II.
to that of Charles II., to which biographies were
furnished by John Gough Nichols, F.S.A. At the
time of his death he was engaged in a work en-
titled ' Historical and Literary Curiosities,' of_which
six numbers were published ; the two required to
complete it were left unfinished. He was a fellow
of the Society of Antiquaries. His death occurred
in 1838.

SMITH, CoLViN, born at Brechin in 1795,
studied in the schools of the Royal Academy in
London. He went to Italy and Belgium, returned
to Scotland, and settled in Edinburgh. He executed
many portraits, among which one of Sir Walter
Scott became so popular that he is said to_ have
repeated it more than twenty times. He died in
1875. Works:

Edinburgh. Nat. Gallery. Portrait of Lord Melville.
„ „ Portrait of Sir Ralph Aber-

croniby
„ „ Portrait of Sir James Mac-

kintosh.
Glasgow. Gallery. Portrait of Lord Jeffrey.

London. Xat. Port. Gall. Portrait of Sir AValter
Scott.

SMITH, Constantin Locis F^lix, painter, was
born in Paris, November 18, 1788. He was a pupil
'if David and of Girodet, and studied at the Ecole
des Beaux Arts. He exhiliited at the Salon from
1817, and his best known works are to be found in
tlie following galleries :

Amiens. Museum. Andromache at Hector's

Tomb.
Xi'^mes. „ Athaliah's Dream.

Orleans. ., An Italian Landscape.

Versailles Gallerij Amerigo Vespucci,

., „ Louisa of Savoy, Duchess of

.\ngouleme.
„ „ Mary Adelaide of Savoy,

Duchess of Burgundy.

His portrait of the Regent Philip of Orleans
was destroyed in the pillage of the Palais Royal
in 1848.

SMITH, Edward, an English engraver, who
practised early in the 19th centurv. He engraved
'Puck,' after Sir J. Reynolds, 'The Piper' and
' Guess my Name,' after Wilkie, and ' The Contadini
Family Prisoners,' after Eastlake. He was engaged
on Finden's ' Royal Gallery.'

SMITH, Ejima, water-colour painter, born about
1787, was the daughter of John Raphael Smith.
She was a member of the short-lived Society of
Associated Artists in Water-colours, and in 1805
exhibited 'Hector taking Leave of Andromache'
at the Royal Academj'.

SMITH, Francis, a landscape painter, whose
name appears in some of the earlier catalogues of
the Royal Academy, is said to have been born in
Ital}'. He travelled in the East with Lord Balti-
more. In 1770 he exhibited Views of Naples and
Constantinople ; two years afterwards a ' View
of Naples,' an ' Eruption of Vesuvius,' and an ' Old
Temple near Pozzuoli'; and the following year
views of London and Westminster Bridges, taken

PAINTERS AND ENGRAVERS.

from the bottom of Arundel Street, Strand. There
are soine prints after drawin.sjs bj- him of Turkish
ceremonies in tlie seraglio. He died about 1779.

SMITH, Frederick Coke, water-colour painter,
was born early in the present century. He visited
Turkey, and in 1836 completed a series of sketches
of Constantinople, -which -were lithographed by
J. F. Lewis. He subsequently pubhshed a set
of sketches made in Canada. His works show
great facility, but lack finish. He died in 1839.

SMITH, Gaeriel, engraver, born in London in

1724. Having learned to use the burin he went to

Paris, where he acquired the chalk method ; and on

his return to England began to practise it, with the

assistance of RylanH,\vith some success. His best

plates were for Boydell. He died in 1783.

SMITH, GixiRGE, known as Smith of Chichester,

was the son of a man who combined the trades of

baker and cooper with the calling of a baptist

minister. He was born at Chichester in 1714, and

with his brothers studied art by painting the scenery

in the neighbourhood. His mature works weie

feeble imitations of Claude and Poussin, but were

fortunate enough to be engraved by Woollett and

others, and to win a prize from the Society of Arts ■

over the head of Richard Wilson. AVith his brother

John he published fifty-three small etcliings from

their own landscapes. Smith was a good musician.

frequently performing at concerts, and a poet of

some taste. He died in 1776.

SMITH, George, painter, born in London in
1802, was brought up as an upholsterer, but on
coming of age resolved to be an artist, and entered
the Academy Schools. He made such progress
that in 1829 he won the gold medal, and was
sent to Runic; in the following year. He returned
to England in 1833, and practised in London, but
his works did not meet with the recognition they
deserved; and discouraged by his want of success,
he fed into ill-health, and died October 15, 1838.
At South Kensington there is by him 'Scipio
Africanus receiving his son from AntiocUus.'

SMITH, George, painter, was bom on Ai^ril 18,
1829. He studied art in Mr. Cary's School, and
was admitted a student of the Royal Academy
Schools in 1845. As a young m^in he attracted
the attention of C. W. Cope, R.A., and was em-
ployed by him as his assistant in executing the
We"stminster frescoes. One of his earliest patrons
was the Prince Consort. His first exliibited picture
was ' The Gipsy Girl,' at the British Institution in
1847, and .ifter this date he showed 78 pictures
at the Royal Academy, 25 at the British Institu-
tion, 15 at Suffolk Street, and others at minor
Exhibitions. He painted subjects of domestic
genre in the style of Webster, and a good idea of
their ch.iraoter may be gained from such titl s as
'The Bird-Trap' (1851); 'The Launch ' (1S53) ;
'Beware of the Dog' (1864); 'The Vah-ntir.e '
(1867); 'Payins? the Legacies' (1872); 'Who
comes here ? ' (1873) ; ' Out in the Cold World '
(1876) ; and ' The Soldiers Wife ' (1878). In 1883
he showed his own portrait at the Academy, and
his last exhibits were 'Weather Permitting' and
' Blanche,' in 1877. In the Sheepslianks Bequest
at South Kensington are, ' Anotlier Bite' (ISoO) ;
'Temptation— a Fruit-Stall ' (1850) ; and 'Children
gatliering Wild Flowers' (1851). He died at Ids
residence. 187, Muida Vale, Jan. 2, 1901. 51. H.

SMITH, George. This painter assumed the
name of Armfield in consequence of some of Ids
earliest paintings having been copied with a

forged name to them. L'nder his now, de ^jhime
he exhibited at the Royal Academy from 1^40 to
1862. His paintings of dt gs, game, ducks, rabbits,
badgers, etc., were highly esteemed. He also
exhibited at Suffolk Street and in the British
Institution.

SMITH, Herbert Luther, painter, born in 1811,
was the younger brother of Frederick William
Smith, the sculptor, and a student of tlie Roj-al
Academy. He exhibited portraits in 1831 and
1832, and, later, various Idstorical subjects. He
was much employed bv the Queen as a copyist.
He died March 13, 1870".

SMITH, Jacob, an obscure English engraver,
wlio flourished about the year 1730. Among other
prints he engraved the portraits of Sir Isaac New-
ton and Sir Hans Sloane, on one plate. The work
is carried out in a single spiral line, like Mellan's
' Sudarium of St. Veronica.'

SMITH, Jan, a Dutch painter of the 17th century,
painted a portrait of Adam van Vianen, which was
engraved by Theodore van Kessel.

SMITH, J. John, landscape painter, born in
London about 1775. He exhibited occasionally at
the Academy from 1813 to 1821, and etched a few-
plates of village scenes.

SMITH, John, landscape painter, bom at Chi-
chester in 1717, was younger brother to Smith of
Chichester, to whom he was inferior as an artist.
He died at Chichester in 1764.

SMITH, John, born at Daventry in 1652, son of
an engraver, is considered tlie best mezzotint en-
graver of his time. He is said to have served an
apprenticeship to one Tillet, a painter in Moorfields.
.As soon as he became his own master, he learned
the art of mezzotint scraping from Isaac Becket,
and received further instruction in it from J. Van
der Vaart. Sir Godfrey Kneller having seen some
of his performances, took him into his employment,
and engaged him to engrave many of his portraits,
which are the best of liis works. The dates on
his plates range from 1679 to 1727. He died at
N'ortliampton in 1742. His portrait by Kneller is
in the National Gallery. His prints are very
numerous; among them are the following:

Charles II. with the Star.

Jame.s. Duke of York, leauiug on an Anchor.

Tlie Duke of Scbomberg on Horseback.

Meinharil, liis Sou, when Duke of Leiuster.

William III. | Queen Mary II.

George, Prince of Denmark ; au oval.

Queen jUine, when Princess of Denmark.

John Churchill, Duke of Marlborougli.

John. Duke of Buckingham.

Charles Sackville, Earl of Dorset.

Charles, Earl of Halifax.

Arnold, Earl of .ilbemarle.

■\Yilliam, Eavl of Jersey.

Catherine, Duchess of Eutland.

Frances Bennet, Countess of Salisbury.

Mary Somerset, Duchiss of Ormond, with a black Loy.

Henrietta, Duchess of Bolton.

Sir Richard Steele. Joseph Addison.

Alexander Pope. William Cougreve.

John Locke. Sir Godfrey Kneller.

Sir Chri.stopher Wren. 1713.

Lord Euston ; whole length. 16S9. , ,. . . ,

His own portrait; from the picture m the >ational
Gallery. „ ,

{All the above are after Kneller.)

Queen Mary II. with a high head-dress ; after Van der
Vaart. .

James Fitzroy, Duke of Monmouth ; after « issing.

Godfried Schalckeu ; after a picture /.y himself.

Ch&vUsXn.; after Jf. Craft. 1701-2.

■William, Duke of Gloucester, and Beuj. Bathurst ; ajt^r
T. Murray. ^^

A BIOGRAPHICAL DICTIONARY OF

Thomas Murray, Pictor ; au oval.

W. 'Wychei-ley ; aftei- Sir P. Lely.

Gulielmus Cowper, Cliyrurgus ; after J. Closterman

The Loves of the Gods, tea Plates ; after Titian,

Venus standing in a Shell ; after Con'eijyio,

Cupid and Psyche ; after A. Veronese.

Tarquin aud Lucretia; after the same.

Time conquering Love ; after S. Vouet.

Venus aud Adonis ; after N. Foussin.

The Virgin and infant Christ ; after F. Baroccio.

The Holy Family ; after C. Jfaratti.

A ■\Vomaa asleep near a Light ; after G. Schalcken.

The Story of Actpeou, small figures ; after F. Utrciitt.

M. Magdalene ; aftti' G. •Schalcken,

The Angel and Tobit ; after Elskeimer.

SMITH, John, known as Warwick Smith, wns
born at Irtliington, CumberlaniJ, in 1749. He was
one of tlie early draughtsmen in water-colours. He
accompanied Lord Warwick to Italj', where he made
sketches. His Italian drawings date from 1786
to 1795, and sliow a vast development of style.
Eight of them are in the Soutli Kensington Museum.
He was President of the Water-Colour Society in
1816. He died in London in 1831.

SMITH, JoHK Chai.oner. This man was the
greatest authority upon British mezzotints, and his
important work, a lull list of plates up to 18'20,
was issued between 1878 and 188-t in parts. He
collected engravings of all kinds, and was par-
ticularly successful in making pencil drawings of
them in a book lie carried about in his pocket, as
an aid to the purchase of fiuer examples than he
happened to possess at the time. He was an
Irishman, born in 1827 at Dublin, had considerable
work in connection with the engineering of the
Irish railways, and died in Ireland in 1895.

SMITH, John Ormn, an English wood-engraver,
born at Colchester in 1799. Intended for an archi-
tect, he prefeixed engraving, and in 1824 became a
pupil of W. Harvey. He was much employed in
hook-illustration. He died in 1843. Amongst the
works for which he made woodcuts were:

The Keuuy-^[eadows Edi'.iou of Shakespeare.

Pa:d aud Virgiuia. 1S35.

Herder's ' Cid,' Stuttgart. 1S39.

Scott's Bible.

IjA Fontaine's Fables.

Bcraager's Songs.

The Solace of Song. 1S37.
Cowper's Poems. ISll.
Thu Arabian Xights. lS-11.

SMITH, John EAriiAEr,, painter and mezzotint
engraver, was the son of Thomas Smith of Derby,
the landscape painter, and was born in the year
175'2. He commenced life as a shopman in Derby,
but came early to London. It is not known by
whom he was taught mezzotint and crayon draw-
ing, but he became eminent in both. His pilates
only amount to about one hundred and fifty. He
led a life of business and pleasure, the latter \ re-
dominating, and he lost the advantages fortune
placed in his way. He had a good heart, encouraged
merit in others, assisted George Morland, made the
world acquainted with Chantrey's abilities, gave his
advice kindly and generously to all artists who
consulted him, and was no man's enemj' but his
own. At one time he travelled as an itinerant
portrait painter ; he also painted figure subjects in
a style between tliose of Morland and Wheatley.
Among his pupils were William Hilton and Peter
de Wint. For the last three years of Iiis life
he resided at Doneaster, where he died in 1812,
in his 60th year. Among Ids best plates are the
following:

The Duke of Devonshire.

■William Markham, .\rchbishop of York.

Richard Kobiuson, Archbishop of Armagh.

Joseph Dean Bourke, Archbishop ol Tuam.

Lady Beaumont.

Lady Caroline Montague, daughter of the Duke c(

Iluccleuch.
?Jrs. Montague.

The Marchioness of Thomond, when Miss Palmer.
Lady Gertrude Fitzp.itrick, daughter of the Ear! ot

Upper-Ossory.
Lady Catherine Pelhani Cliutou.
JIaster Crewe, as Henry VXIl.
Jlaster Herbert, as the yo'Uig Bacchus.
Lieutenant-Colonel Tarleton.
■ Mrs. Musters.
Lieutenaut-Geueral Sir AVilliam Boothby.
Louis Philippe, Duke of Orleans (Egalite).
The .Student.
The Calling of Samuel.

{TIte ahove are all after Reynolds.)

Vice- Admiral Sir Hyde Parker ; after Northcote.

Miss Coghlan ; after Gainsl'Oroui/h.

Mrs. Siddous, as the Grecian Daughter; after Laicrcnce.

Edw. \Vortley-Montagu, a-> au Oriental ; after Peters.

Georgi' IV. uhen Prince of "Wales ; after Gainsborough.

Iilarie- Antoinette, Queen of France.

William, Duke ot Portland ; after West.

Friedrich. Priui'e of Hesse-Cassel ; after Rusca.

Admiral Lord Duncan ; after Danloux.

JLartiu Rytkaert ; after Van Di/ck.

Woodward, as Petruchio; after Van der Guckt.

Four crayon portraits by Raphael Smith are in the
South Kensington Museum.

SMITH, John Rubens, painter, son of John
Raphael Smith, was born on January i!3, 1775.
From 1796 to 1811 he had forty-eight exhibits at
the Royal Academy. Most of these are portraits,
bit some are subject pictures or landscapes, such
as ' Olivia's Return ' (1797) ; ' The slighted Maid,'
from Shakespeare's 'Lover's Complaint ' (1799) ;
and a ' View of Reculver, near Margate ' (180'2).

SMITH, John Thomas, engraver and writer, was
born in 1766. His father, Natlianiel, had been a
pupil of Roubilliac, and had formed an earlj' friend-
ship with the younger Nollekens. At the age of
thirteen John Thomas Smith was introduced to
the studio of Xollekens, to whom his father
was then principal a.ssistant. Here he had much
practice in drawing, and after three years became
a stude^it of the Royal Academy. Having shown
much ability by some drawings in imitation of
Rembrandt and Ost.ade, he became the pupil of
Sherwin the engraver. After leaving Sherwin he
practised as a drawing-master, but in 1791 he coni-
ni'-nced his first independent work, 'The Antiquities
of London and its Environs,' which he completed in
1800, the whole consisting of ninety-six plates in
imperial quarto. He next published ' Antiquities
of Westminster,' illustrated with two hundred and
forty-six engravings from subjects the greater part
of which no longer exist, to which he afterwards
added a Supplement. These works were followed
by ' Ancient Topography of London,' completed
in 1815, which contains thirty-two plates boldly
etched in a style like that of Piranesi. In 1816
Smith was appointed Keeper of the Prints in the
British Museum. In that situation he found leisure
to publish ' Vagabondiana, or Anecdotes of Men-
dicant Wanderers through the Streets of London,'
which he illustrated with etchings of remarkable
beggars and other notorieties. His last publication
was 'Nollekens and his Times.' His ' Book for a
Rainy Day ' appeared after his death. He died in
London, after a short illnes.s, iu 1833.

SMITH, JosEi'H Clahendon, water-colour painter
and engraver, was born in London in 1778. His
father, a builder, left his son without provision, and

JOHN RAPHAEL SAHTH

[From the mezzotint ajlev Romiiev

TAYADANEEGA, CHIEF OF THE MOHAWKS
1779

PAINTERS AND ENGRAVERS.

the boy was accordingly sent to sea. After three
j-ears' service lie gaiued admission to Christ's
Hospital School to study navigation. Here lie
showed an inclination for art, which led to his
being apprenticed to an engraver, under whom he
worked creditably, but afterwards meeting with
little recognition he began to practise water-
colour, and with more success. He exliibited
topographical subjects at the Academy from 1806
onwards. His best work as an engraver is to be
found in Weld's ' Topography of Killarney.' At-
tacked by lunu disease he was ordered to Madeira,
and died on the return voyjge in August, 1810.
Two examples of his work are at South Kensington.

SMITH, RoPEur IIenrv Souen, a keeper of the
Art Gallery at South Kensington, born in 18"J2,
who for his ex'juisite drawing' of shells must be
considered as an artist. His first profession was
in connection with the College of Anns in Ireland ;
but in 1868 he became Keeper of the National Art
Library, and did very important work at South Ken-
sington. He will be remembered for the admirable
catalogue of books on art he compiled, and for tlie
attention he gave to jewellery. He never married,
and he never produced the book on sliells for which
he was preparing during many years of his life.
He died in 1890, after a somewhat serious operation.

SMITH, Samuel, engraver, born in London about
1745, practised in landscape, and completed some
good plates, such as 'The Finding of Moses,' after
Zuccarelli, and a 'Niobe,' after Wilson.

SMITH, S.\MtJEL S., an English engraver, bom
in 1810. lie worked much for the 'Art Journal.'
He died at St. Juhn's Wood in 1879. Amongst his
best plates are :

The Carrara Family ; after Easttake.

St. Agnes ; after Doitunichino.

SMITH, Stephen Catterson, the President of
the Hibernian Academy, born at Shipton, Yorks, in
1806, the son of a coach-painter. He studied at
the Roj'al Academy classes, and began to exhibit
in 1838. He was called over to Ireland in 1840
to paint the portraits of the Lord Lieutenant and
of .Mr. Wingfield, and finding that there was
considerable demand for portraiture in Ireland,
he settled down in that country, and there spent
the rest of his life. He was President of the
Royal Hibernian Academy in 1859, and continued
in office until 1864. Four years afterwards he
was re-elected, but was ob!i'.,'ed to relinquish the
position. He died (juite suddenly, May 31, 1872.
Works:

Dublin. National GalUry. Portrait of himself.

„ „ Portrait of W. Dargan.

„ „ Portrait of Peter Purcel!.

» „ Portrait of Sir Philip

Crampton.

« „ Portrait of John, fourth Earl

„ ,, of Bessborough.

„ S^al Hibernian j p^^^^^j^ ^j ,,i^^^lf

" "{■ ""vi"*?"" } Portrait of the jVrtist's Wife.

"^■Ueckf^j. } Portrait of J. B. Leech, Esq.

„ ilaiision House. Portrait of Queeu Victoria.

„ City Hall. Portr.iit of Daniel O'Connell.

„ Castle. Portraits of several Viceroys.

Londou. South Kensinrjton. Portrait of Lord Duugamion.

His wife was a successful miniature painter, and
persuaded her husband to paint a few miniatures,
which were somewhat remarkable for their breadth
X)f treatment ai:d grand colouring.

SMITH, Thomas, an ingenious English land-
scape painter, wliu resided chiefly at Derby, and
was usually styled Smith of Derby, to distinguish
him from the other artist of the same name who
practised at Chichester. Without the help of a
master he reached an eminent rank in his profes-
sion, and was one of the first of English artists to
explore and display the charming scenery of his
native country. He painted many picturesque
views in the Peak ; forty of these, engraved
by Vivares, were published, collectively, by Boy-
dell in 1760. Other views were engraved by
JIason and Elliot. Smith also painted some sport-
ing subjects. He died at the Hot Wells, Bristol,
in 1769.

SMITH, Tuomas Correggio, miniature painter,
the eldest son of Smith of Derby, was brought
up to his father's profession, for which, how-
ever, he seems to have had very little aptitude.
He exhibited miniatures and small portrait draw-
ings of a verj' mediocre stamp at the Academy
from 1785-1788. He settled at Uttoxeter, where
he died early in the 19th century.

SMITH, Tom, engraver, was a pupil of Charles
Grignon, and executed some plates jointly with C.
White. He became independent of his profession
through coming into a fortune. On this account
he was known among his companions as ' Squire
Smith.' He died of fever when still a young man,
in 1785.

SMITH, William, born at Guildford in 1707,
devoted himself to portraiture, but later tried
landscape, and afterwards fruit and flowers. He
was the eldest brother of Smith of Chichester.
He died at Shopwyke, near Chichester, in 1764.

SMITH, W. Boase, was a striking painter of
marine views and landscapes. He lived at Fal-
mouth, was a member of the Society of Western
Artists, and did much to encourage art in the west
of England. For thirty years he exhibited in the
art section of the Cornwall Polytechnic Society,
and in later years acted as judge with H. S. Tuke.
His principal works were exhibited at Birminghani,
Manchester, and Liverpool, his favourite subjects
being on the Gyllan river, and in the neighbour-
hood of Helford. His pictures were a faithful
interpretation of nature, rendered with sympathy
and skill. Boase Smith died at Falmouth on
January 24, 1896, at the age of fifty-four. Jr. H,

SMITH, William Collixgwood, landscape-
painter, was born at Greenwich in 1815. He was
to a large degree self-taught, but received some
instruction from J. !>. Harding. In 1830 he ex-
hibited at the Royal Academy an oil painting of
the north aisle of Westminster Abbey, and con-
tinued to exhibit there and at the British Institu-
tion until 1843, when he was elected an Associate
of the Society of Painters in Water-Colours. His
earlier subjects as an Associate were marine pieces,
but afterwards he travelled in France, Switzerland,
and Italy, and exhibited landscape and architec-
tural views. He \\ as a rapiii worker, and his draw-
ings are marked by breadth of effect and firmness
of touch, though they sometimes lack the subtler
qualities of colour andform. In 1849 he became a
full member of the Old Water-Colour Society, and
from 1854 to 1879 was Treasurer. During the
forty-five years of his connection with the Society
he exhibited two thousand d.-awings, his last work
being a view of ' Windsor from Datchet ' for a
collection of drawings presented as a Jubilee gift
to the Queeu. He died at his residence on Brixton

A BIOGRAPHICAL DICTIONARY OF

Hill on March 15, 1887. A small collection of his
works was exhibited in the following winter by the
Water-Colour Society, and his remaining works
were sold at Christie's in March 1888. Two of his
drawings, 'The Otter's Haunt 'and 'Arundel Park,
Sussex,' are in the Victoria and Albert Museum.

M.H.

SMITS, Frans MARcns, a Flemish painter, born
at Antwerp in 1760. In 1779 he was studj'ing at
the Academy at Antwerp. He was also a pupil of
A. de Quertemont. He died at the Hospital of
S. Elizabeth in 1833, after a life of much privation
and poverty. At Antwerp there is a portrait of
the painter Herreyns by him. He also painted a
good portrait of Onimeganck.

SMITS, LuDOLF, (or Ludewtk,) called Hart-
camp, was born at Dort in 1635, and acquired some
reputation as a painter of flowers and fruit, but liis
impasto was so thin that his works are now almost
obliterated. He was still living at Dort in 1675.

SMITS, Nicholas, a native of Breda, and born
about the year 1672, is mentioned as a good
painter of historical subjects. It is said that he
died in 1731, but the Dutch writers seem to know
little or nothing of his history. His works are
few.

SMITZ, Caspar, (Smits,) a Dutch painter, who
came to England soon after the Restoration, and
who, from painting a great number of JIngdalenes,
was called ' Magdalene Smith.' He visited Ireland,
where he painted small portraits in oil, at high
prices. His flower and fruit pieces were good.
In his Magdalenes he generally introduced a
thistle in the fore-ground. He died poor at Dublin
in 1707. He engraved three mezzotints, a portrait,
a ' Magdalene in a Grotto,' and a ' Hagar in the
Wilderness.'

SMUGLEWICZ, LuciAN, painter, flourished at
the end of the 18th century at Warsaw. He painted
some frescoes in the Castle and Dominican Church
at Lancut, in Galicia. He was the pupil of his
father, one Lucas Smuolewicz.

S.MYTERS, (or De Smytere.) See De Hkere.

SMYTH, John Talfourd, engraver, born at
Edinburgh in 1819, studied under Sir W. Allan
and at the Trustees' Academy, though h • was
chiefly self taught. In 1838 he went to Glasgow,
but returned to Edinburgh, where he died in 1851.
His chief engravings are :

Knox distributing the Lord's Supper ; ftfifr TT'ilkU.
Tartars dividing their Booty ; after Allan.
The Last in ; after Mulready.

SNAPHAAN. See Schnaphan.

SNAYERS, Hendrik, (SNYERS,) a Flemish
engraver, born at Antwerp about the year 1612. It
is not ascertained from whom he learned his art of
engraving, but he imitated the style of Scheltius k
Bolswert with considerable success. His drawing
is tolerably correct, and his prints exhibit much
of the character of the masters after whom he
worked. We have, among others, by him.

Portrait of Prince Rupert ; after Vandyck.

Adam Van Noort ; after jordaens.

The "Virgin seated upon a step, surrounded bj several

Saints ; after JHiihens.
The Fathers of the Church ; after the same.
The Death of St. Francis ; after the same.

He also engraved some plates from Titian and
other masters, and a few portraits. He signed his
engravings Heinrich Snyers and H. Snyers.

SNAYERS, PlETER, born at Antwerp in 1593,
was a scholar of Sebastian Vrancx. Although

he painted history and portraits with considerable
success, he distinguished h'mself more by his
battles and landscapes. He was patronized by the
Archduke Albert, who appointed him his painter,
and sent several of his pictures to Spain ; which
brought him many commissions from the Spauish
court. Yandyck painted the portrait of Snayers
among the eminent artists of his time. He was
still living in 1669. There are pictures by him i:i
many public Galleries, including sixteen at Madrid.
Tliere is a good 'Cavalry Skirmish' at Dulwich,
and a fine ' Battle of the Forty ' at Hampton Court.

SNELLAERT, Jan, a Fleudsh painter of the
15th century, who is recorded as working in Ant-
werp from 1453 to 1480, and who is discovered, by
recent researches, to have received the freedom of
the city in 1484. He is looked upon as the founder
of the Antwerp school, and must have been a
painter of considerable distinction, to judge from
the prominent position he took in civic and artistic
matters. He was appointed painter to Mary of
Burgundy, and Kramm surmises that he m:iy have
been the author of the paintings in the ancient
chapel of the Dukes of Burgundj' at Antwerp.
Jointly with his friend Jan Scoermoke, he was the
lirst Dean of St. Luke, at Antwerp.

SNELLAERT, Nicholas, son of Willem, born
at Courtrai about 1540. In May 1586 migrated
to Dordrecht; there admitted to Guild of St. Luke,
May 31, 1588, married Eneken van Spertsenberg
of Antwerp ; died 1602.

SNELLAERT, Willeji, a Flemish painter, who
flourished at Courtrai about 1560, and is mentioned
by Van Mander as the first master of Pieter VIerick.

SNELLINCK, Jan, (SNELLINCKX,) was bom
at Mechlin in 1544, according to his epitaph. It is
not know]i by whom he wms taught, but Karel
van Mander, iu the ' Life of Otho Venius,' calls him
an eminent painter of history and battles. There
are some historical pictures by him in the Belgian
public buildings, which prove him to have pos-
sessed a considerable gift for ' high art.' His best
works, however, were skirmishes and attacks of
cavalry. He lived at Antwerp, where he was
much employed, and was appointed court-painter
to Albert and Isabella, the governors of the Nether-
lands. His battle-pieces are well grouped, the
figures and horses correctly designed, and the
fury of the combatants fully expressed. The
talents of Snellinck were appreciated by Van-
dyck, who painted and etched his portrait among
the distinguished artists of his tine. Snellinck
worked much as a designer of patte.-ns for the
fictories of Oudenarde. He was twice married,
and of his numerous sons no fewer than five were
painters, viz. Jan, born 1575 ; Daniel, bom
1576; Gerard, born 1577; Andries, born 1587;
Adraham, born 1597. Snellinck died at Antwerp
iu 1638. Works:
MechUn. ^''■ff \ The Eesurrection.

CathSfe[' ] ^^='=^°* °^ t""^ ^"'y ^^°^^-
Oudenarde. Ch.of Si. | ^j^ Transfiguration.
Ivallurga.^ °

Ch. of Notre ) creation of Adam.
Dame. J

SNELLING, Matthew, portrait and miniature
painter, practised in the reign of Charles II., paint-
ing heads, chiefly of ladies. There is a portrait
by him at the College of Physicians, and a portrait
of Charles I., dated 1647, was exhibited at South
Kensington in the Loan Collection of 1862.

m"'^

PAINl'ERS AND ENGRAVERS.

SNELLKG, Thomas. Many of tlie illustrations
in the important works on silver and gold coinage
issued by this eminent coin-dealer were his own
work, and he also designed one or two medals, one
of which was his own portrait engraved by Pingo.
He should, therefore, receive some attention. He
was born in 1712, lived all his life in Fleet Street,
was a great friend of William Hunter the anato-
mist, published some of the most important works
on coins and tokens that have ever been issued,
and died in 1773.

SNELLIXKS, J., a Dutch p:iinter, who practised
in the manner of F. iloucheron, painting landscapes
with figures. He died at Rotterdam in 1691.

SNIP. See Terwestex, Adgustixos.

SNUFFELAER. See Scheieck.

SNYDERS, Franz, painter, born at Antwerp in
1579, received his first instruction from Hendrik
van Balen and P. Brueghel. For some time Le
confined himself to painting still-life, in which he
excelled ; but he afterwards devoted his studies to
a more difficult branch of art, in which lie won
a unique celebrity. He painted animals and hunts
with surprising fire and spirit. The talents of
Snydors excited the admiration of Rubens, who
frequently intrusted him to paint the animals, fruit,
&c.,in his pictures, although he could do them so
well himself. Snyders is said to have travelled in
Italy, though others assert that he never left
Flanders, but constantly resided at Antwerp, ex-
cept fur a short time, when he was invited to
Brussels by the Archduke Albert. For liira he
painted some of his finest works, particularly a
stag-hunt, which was sent by the Archduke to
Philip III. of Spain, who coramissioued Snjders
to paint several large hunting pictures, and com-
bats of wild beasts, which are still in the old
palace uf Buen-Retiro. He also excelled in painting
kitchens and larders stored with game, fish, fruit,
vegetables, &c., which are occasionally provided
with figures by Rubens and Jordaens. Vandyck
painted Snyders more tlian once. One example is
at Castle Howard. Snyders died at Antwerp in
1657. His pictures are very numerous. The fol-
lowing are good and accessible examples :

Antwerp. JIusiuni. Swans ami Dogs.

Berlin. ., The Cock Fight.

Dresden, Gallery, Kitchen, with portraits of

Rubens and his Wife, by
himself.
EJinburgh. Xat. Gallery. A Wolf Hunt.

„ „ Mischevous Monkeys. {And

ttco more,)
Florence. rj!:n. A Eoar Hunt.

i Hampton Court. A Boar Hunt. {And three

t more,)

I Madrid. Museum. Tweuty-one pictures of hunts,

&c.
ilunich. r ::al-otltek. Int-. rior of a Kitchen.

n „ A Boar Hunt.

>i „ A Lioness killing a Wild Boar.

Paris. Louvre. A St.ig Hunt.

» ,, Paradise.

M „ Animals going into the Ark.

» „ A Boar Hunt.

The Hague. JIuseiim. Stag Hunt. (Landscape by
Rubens,)
n „ Kitchen, with game and vege-

tables. {Figures by liuben:^,)

SNYERS, PiETER, born at Antwerp in 16S1,
stjjdied his art under Alexander van Bredael. In
17'J7 he was free of the Guild of S. Luke, and was
ifterwards president of the Antwerp Academy. He
is reported to have visited London, and to" have
j)ainted portraits of various members of the
VOL. 7. H

nobility. A ' Rocky Landscape ' in the Antwerp
Museum is one of his best works. Besides land-
scapes and portraits he also painted flower-pieces
with mnch skill. He died in 1752.

SXYERS, PiETEB Jan, the nephew of Pieter
Snyers, was born at Antwerp in 1696, and was
instructed by his uncle, but when only twenty-five
years old abandoned his profession. His works
are consequently very scarce. His subjects were
hunting-scenes, and he excelled in those of small
size. He died in 1757.

SOANE, Sir John. The Soane Museum in
Lincoln's Inn Fields is the memorial of this
remarkable architect, a man of the most extra-
ordinary ideas, afHicted with eccentricity and with
a very irritable temper. He was a Berkshire man,
bom in 1763, his name originally being Swan. He
changed it to Soan, and later on added an " e" to
it. He was a pupil of George Dance and of Henry
Holland, and in 1788 became architect to the Bank
of England, the greater part of which he rebuilt.
He became exceedingly wealthy through his wife,
and was a great collector of pictures, gems,
j manuscripts, and books. His architectural draw-
I in:;s are marked not only by considerable know-
ledge of classical work, but by an overpowering
desire to use ornamentation. He bequeathed his
house with its entire contents to the nation, fetter-
ing the bequest with many strange regulations,
quarrelled with both his children, and the only
excuse he gave for refusing a baronetcy which
was offered liira on account of his public work
was his detennination that his son should never
possess it He hid away some of his property in
various places, lea\-ing instructions for his papers
I to be examined at different distinct intervals after
his death, many years occurring between each
interval, and he left away from his sons all that
he could dispose of. A great part of his fortune
came to his j,randchildren, but a considerable part
of his property has never been properly accounted
for, and is thought to be still fettered by some of
his eccentric rf gulations. He died in 1837.
SOBLEO. See Desubleo.
SOBRINO, Dona Cecilia, nee Morillas, bom
1638, carved in wood, and painted ; she was par-
ticularly skilful in tb.e execution of globes and
maps. She is said to have had a thorough know-
ledge of Greek, Latin, and Italian, and to have been
well versed in various branches of science. She
had a son and a daughter who devoted themselves
to art, Josi and Cecilia. The latter was a Car-
melite nun at Valladulid, where many of her
paintings are still to be found, and died April 7,
1646. Her mother died at Madrid, October 21,
1581.

SOCRATES, a Greek painter, mentioned by
Pliny na a disciple of Pausias.

s6d.4R, Franz, French painter; bora in 1827
at Dinant ; his early studies were perfected by
lengthy travel ; and after working at historical
and genre subjects Lis profoundly religious tem-
perament caused him to choose sacred art as his
sole means of expression. He paid visits to various
holy places, and finally settled at Assisi. From
Pope Leo XIIL he received the gold medal for
Christian art. He died at Assisi, in January 1900.
SODERMARK, Johan Per, Swedish painter;
born June 3, 1822, at Stockholm ; studied at the
Stockholm Academy. He was at first a soldier,
but accompanied his father to Italy in 1845, and
after study at the Diisseldorf Academy he became

A BIOGRAPHICAL DICTIONARY OF

a pnpil of Couture in Paria. He painted military
and historical subjects besides portraits ; was
elected a member of the Stockholm Academy in
1874. He died at Stockholm in September 1889.

SODERMARK, Olaf Johan, painter, was bom
at Stockholm in 1790. He was an officer in the
Swedish Army, and served in several campaigns
before lie decided upon an art career. In 1819 lie
left the army, and later went to Munich to study,
and eventually to Rome. He was a successful
portraitist, and also painted many pleasing genre
pictures. In the Stockholm Galle'ry there are two
pictures by him, a bust portrait of the German
artist, Franz Riepenliausen, and a study of an
Italian girl, ' La Grazia.' His last work was a
portrait of Jenny Lind. He died in 1848.

SODERLVI, Mauro, painter, practised at Flo-
rence in the 18th ceiitiir3'. He was a pupil of
Giovanni dal Sole. In the church of San Stefano
at Florence there is by him a ' Raising of a Dead
Child bv S. Zanobio.'

SODOMA, II. See Bazzi.

SOEXS, Jan, born at Bois le Due about the
year 1553, was first instructed by Jakob Boon,
but afterwards became a scholar of Gillis Moes-
taert Under that master he made great progress,
and was considered one of the most promising
young artists of his time. He travelled to Italj',
where he was emplo3-ed by the Pope, and by
several of the Roman nobility, in the embellish-
ment of their palaces. He passed some time at
Parma, in the service of the duke. His manner
was animated, and the figures he introduced into
Lis landscapes were well drawn and handled. He
died at Parma in 1611.

SOEREXSEN, Carl Frederik, Danish painter ;
bom February 8, 1818, at Besserby, near Copen-
hagen ; studied at the Copenhagen Acjdemy. In
1846, and repeatedly, he went for long voyages on
board Danish ships of war, and he also travelled
in Germany, England, France, and Italy. In 1869
he was appointed Professor. His 'An der Kiiste
von Jutland' and ' Islandische Kiiste' are in the
Copenhagen Gallery, while the Stockholm and
Christiania Art Galleries contain examples of his
work. He died at Copenhagen, January 24, 1879.

SOEST, or ZOEST, Ge.^ard, a native of West-
phalia, was born early in the 17th century. He
visited England some time before the Restoration,
with an established reputation as a portrait puinter.
His heads are animated, in bold relief, yet highly
finished. His draperies were usually of satin, in
the manner of Terburg ; but he enlarged his style
on seeing the works of Vandyck. He was more
successful in his portraits of men than women.
He executed a portrait of the Lord Mayor Sheldon
and Dr. John Wallis. He died in London in 1681.

SOEST, Jarens vox. See Jarenus.

SOETE. See ZUTMANN.

SOGGI, NiccoLO, painter, born at Florence in
1480, was a disciple of Pietro Perugino. He
painted in the style of his instructor. His chief
residence was at Arezzo, where some of his works
are preserved in the churches. In La Madonna
delle Lagrime a ' Nativity ' represents him fairly.
In 1550 he was at Rome, and working for the
Pope. He died at Arezzo in 1554.

SOGLIANI, Giovanni Antonio, painter, born at
Florence in 1492, was a pupil of Lorenzo di Credi,
whose style he imitated, as may be seen in his
' Burial of Christ,' in the Berlin Museum. He also
copied the manner of Fra Bartolommeo, notably in

a ' Miraculous Conception,' with Saints, formerly in
Santa Maria Nuova, Florence. One of his earliest
works was a ' S. Martino,' in Or San Michele,
Florence. In 1521 he painted the ' Martyrdom
of S. Arcadius,' in S. Lorenzo. It is a good study
of the nude, but with no originality. In conjunc-
tion with Andrea del Sarto and Sodoma, he painted
a series of subjects behind the high altar of the
Pisan duomo. At Florence there are several
Madonnas by Sogliani in the Accademia ; a St.
Catherine in the Torrigiani Collection ; also a
' Christ Washing the Apostles' Feet,' in S. M. del
Posso, Anghiari. Ho died at Florence in 1544.

SOGLIARI, II. See Gatti.

SOGNI, GiusErrE, an Italian painter, bom in
1797. He studied at the Brera, in Milan, under
Pacetti and Sabatelli, and went to Rome for further
instruction in 1830. He was a member of the
Milan Academy, and held the post of Professor at
Bologna from 1834 to 1839, and from 1839 at the
Brera. He occasionally painted portraits, but
devoted himself chiefly to historical pictures, the
best known of which are the following :

Columbus Embarking at Pales. (1829.)

The Death of Raphael.

The Kape of the Sabiaes. (1831.)

Susannah. | Adam and Eve.

Return of the Milanese after Leguano. (1837.)

Last Hours of Beatrice Ceuci.

Frescoes in S. Pietro al Eosario, Novara.

In the Milan Hospital there are portraits of various
benefactore by him.

SOHN, Kai'.l Ferdinand, historical and portrait
painter, born at Berlin in 1805, studied first at the
Berlin Academy, and then in the private ateUer of
W. Schadow, whom he accomp.anied to Diisseldorf
in 1826. After a visit to the Netherlands, he went
in 1830 to Italy. In 1832 he was appointed teacher,
and in 1838 professor at the Diisseldorf Academy.
He was an excellent portrait painter, especially of
women ; the best of his portraits being that of the
Countess Monti, now in the Wallraf Museum,
Cologne. He was also particularly successful as
a painter of the nude. Of his pictures we may
name :

Diana in the Bath.

The Judgment of Paris

The Sisters.

Girl playing the Lute.

Hylas seized by Water Nymphs,

Rinaldo and Armida.

Portrait of a Young Lady.

The Two Leonoras.
Komeo and Juliet.
Yauitas.

{Berlin GaUei-y.)

(Do.)

He died at Cologne in 1867.

SOIGNIE, Jacques JoAcniM de, painter, born
at Mons, 1720, studied in Paris, and practised for
a time at Lyons. He finally settled in his native
town, where, in the JMuseum, an 'Annunciation,'
an ' Adoration of the Shepherds,' ' Episodes in llie
Life of Madame de Chaiital,' and other works of his,
are to be seen. He died in 1783.

SOITZ, G. C, a German engraver, who flourished
about the year 15.30. He executed some of the
portraits for the ' Templum Honoris,' published at
Vienna in the above-mentioned year.

SOIUS, Philippe. See Soye.

SOJARO, II. See Gatti.

SOKOLOFF, Peter, painter, flourished at St.
Petersburg in the 18th century. He studied in Rome
under Battoni, and painted historical and mytho-
logical subjects. He was assistant professor at the
Academy at St. Petersburg, where he died in 1791.

SOKOLOW, Peter Petrovitsch, Russian
painter ; born in 1821 ; a member of the St.

ANDREA SOLARIO

Hmijstiiml photo]

[Xiihoiia! Gallny

CHRISTOFORO LONGONO

PAINTERS AND ENGRAVERS.

Petersburg Academy, and well known throughout
Russia as a genre painter of distinction. Among
his works we may mention : ' Landkutsclie,'
' Dorfbegrabniss,' ' Reise im Winter,' and ' Der
Betrunkene.' He obtained a Paris gold medal in
1889. He died in November 1899.

SOLARIO, Andrea, born circa 1460, died circa
1530. " To M. Ottone Mundler," says Morelli, " be-
longs the credit of throwing light on the character
of this artist." The same author, in his ' Delia Pit-
tura Italiaua,' published in 1897, further remarks :
" On account of the disagreement between existing
writers concerning the most important artist of the
Lombardo-Milanese School, I permit myself to
speak of him at some length.'' This disagreement
referred to by Jlorelli is amply borne out by a
perusal of the various Dictionaries of Art. Andrea
Solario, Salario, Andrea Mediolensis, of Milan,
del Gobbo, or Gobbo of Milan, has been
confused with another Milanese artist, Andrea
Salai. He has been called a pupil of Leonardo or of
Gaudenzio Ferrari. Burckhardt, in the ' Cicerone,'
speaks of the influence of Mantegna in his earlier ;
of Luini in his later works. The date of his
birth is variously stated, as is also the place of his
decease. The most disputed point, however, con-
cerns his visit to Naples, said by Calvi to have
taken place about 1513, in company with Andrea da
Salerno (Andrea del Sirto ?), upon which occasion
he received a commission to paint eighteen scenes
from the life of St. Benedict for the convent of
San Severino. and a ' Descent from the Cross ' for
the church of S. Domenico Maggiore. In the face
of such conflicting testimony, that of Signer Morelli
has the advantage of being recent and concise.
The family of this artist, which comprised among
its members more than one architect and sculptor,
came from the villige of Solaro in the Province of
Corao, and settled at Milan in the hrst half of the
fifteenth century. Here Andrea was born about
1460. On the pictures painted during his absence
from his native city he signs himself Andrea
Mediolensis ; the nickname Gobbo was given to
his brother Cristoforo, the sculptor, by reason of
his deformity ; and he, many years older than
Andrea, appears to have stood in loco parentis
to the subject of this narrative. The superb
modelling of the heads in Andrea's pictures (in
which respect he more nearly than any other
Lombard master approaches the standard of Leo-
nardo) is probably due to his early training, and
it is curious that with this sculpturesque style his
rendering of "hands" should be inferior to that
of many of his contemporaries. His earliest known
works, the 'Madonnas' in the Brera and Poldi
Pezzoli Collections at Jlilan, bear the impress of
Milanese influence, probably that of Bartolommeo
Suardi called Tl Bramantino. The two single
figures of saints in the last-named collection,
though belonging also to his early period, differ
considerably in style, for ' St. Catharine ' is Lom-
bard, 'St. John' Leonardesque. In the year 1490
the brothers travelled to Venice, and there, under
the influence of Giovanni Bellini and Antonello da
Messina, Andrea painted the flne 'Portrait of a
Venetian Senator,' hitherto regarded as the work
of one of these elder artists (S^at. Gall., London).
About three years later, Cristoforo and Andrea
returned to Milan, and the altar-piece for St. Pietro
Martire at Murano, given by Eugene Beauharnais
to the Brera, was probably painted during a second
Tisit to the city of the Lagoons. The subject of
E 3

this picture is the ' Virgin between St. Joseph and
St. Jerome,' and the style has given rise to much
controversy. Crowe and Cavalcaselle see in it
the influence of the Florentine School of Andrea
Verrocchio, and compare the landscape in the
background with those of Previtali, a Bergamasque
painter, at that time fifteen years of age. Signor
Morelli, on the other hand, is of opinion that the
general characteristics are Leonardesque, and that
the Madonna resembles those of BoltrafRo. Mr.
Berenson describes it as based on the study of
Alvise Vivarini, in which opinion he is supported
by other art critics of the modern school. It
would therefore appear that Florentine, Lombard,
Milanese, and Venetian influences united to form
this artist's style, whilst in some of his later pic-
tures that of the Flemish School of Antwerp is
strikingly apparent. Three portraits — that of a
lady, in the possession of the Miirchese d'Adda
(Milan), of a Milanese gentleman, Giovanni Chris-
toforo Longono (Nat. Gall., London), and of Charles
d'Araboise (Louvre) — were probably painted be-
tween the years 1503 and 1505. This last-named
picture, attributed to Solario, was once supposed to
be Louis XII., but the assumption that it represents
Charles d'Amboise, at one time French lieutenant
at Milan, is confirmed by the landscape, a range of
snowy Alps, as seen from that city. This picture
is very delicately executed, but the surface has
been destroj-ed by a heavy coat of varnish. On
the recommendation of Charles de Chaumont, or
Ciamonte, as he was called in Italy, Andrea Solario
received an important commission from Cardinal
Georges d'Amboise, a wealthy and ambitious eccle-
siastic. This was the decoration of a chapel in
the Chateau Gaillon, destroyed in the Revolution
of 1793. The Cardinal had endeavoured to secure
the services of Leonardo, hut the latter, immersed
in hydraulic experiments and the fortification of
Milan, refused his offer. So highly was the work
of Italian artists appreciated in France, that Andrea
and his assistant received for the expenses of their
journey seventy crowns, and for a ye:ir's wages
three hundred and seventy livres, while the French
workers were only paid four sous a day. Whether
Solario lingered on in France after the completion
of his labours at the Chateau Gaillon is unknown, but
the ' Madonna of the Green Cushion ' (Louvre) was
probably painted at this time. It has been sug-
gested that he may then have paid a visit to
Antwerp, and thus come under that Flemish in-
fluence which is so strongly marked in such pictures
as 'Christ carrj-ing the Cross' (Borghese Palace),
the ' Repose in Egypt,' and the ' Ecce Ilnmo,'
both in the Poldi Pezzoli Collection (ililan).
About the year 1515 he received a commission to
paint the 'Assumption of the Virgin' as an altar-
piece for the new Sacristy at the Certosa of Pavia.
He died, leaving it unfinished, and the work is
said to have been completed and restored by
Bernardino Campi in 1576. Three other portraits
at Milan may with some degree of certainty he
attributed to Andrea Solario : ' Cesar« Borgia,' in
the Casa Castel Parco, styled a Raphael ; ' Cancel-
Here Morone,' in the possession of the Duca Scotti,
hitherto given to Leonardo ; and the equestrian
portraitof 'Mas3imilianoSforza,'in the Casa Perego.
This last was in bad condition, bi;t has been care-
fully restored. There are some drawings by this
artist in the Ambrosiana at Milan, and at Venice
is the pen-and-ink sketch for the ' Assumption '
at Pavia, taken apparently from a design by his

A BIOGRAPHICAL DICTIONARY OF

brother Crietoforo. Besides the important ques-
tion as to whether Andrea Solario executed those
frescoes at Naples, described as " belonging to the
close of the fifteenth century, and aB showing
Venetian and Ferrarese influence," another dis-
puted point concerning this artist is at present
before the world, with respect to a 'Madonna' in
the possession of Mr. Asher Wertheiraer. This
picture, tliough possessing the recognized charac-
teristics of Andrea Solario, and having moreover a
certain resemblance to a painting of the same sub-
ject in the Brera, has on it a signature, apparently
genuine, Antonius di Solario Venetus jnnx.
Bergamo. Gallery. Ecce Homo.

Brescia. Gallery. Cnrist bearing His Cross.

„ „ Mouk adoring Clirist.

London. National Gall. Portrait of Gio%-anni Christo-
foro Longono.

„ „ Portrait of a Venetian Senator.

„ Exors. of Wick- ) gj_ ^ Magdalen.
nam l* lower. )

„ Earl of NoHh-\y-^^^^ ^^j child.

„ Rev.W. H. I Virgin and Guild.

II ayne. j "
,, A. Wcrthei'mer. Madonna and Child.
Milan. Brera. Madonna.

„ „ The Redeemer.

„ „ Virgin between St. Joseph and

St. Jerome. (Signed and
dated 1495.)
„ Foldi Pczzoli. St. Catharine.

,, „ St. John tlie Baptist.

Virgin, Infant, and St. Joseph.

,1 „ A Kiposo. (Dated 1515; his

last known work.)

Paris. Lou vre. The Virgin of the Green Pillow.

^ „ Portrait of Charles d'Amboise.

„ The Crucifixion.

„ „ TheHeadof St.JohntheBaptist.

Pavia. Ccrtosa. Altar-piece— The Assumption.

Peters- Leuchtenlurg \ Virgin and Child with the infant
Gallery, j !*t. John.
Borahtse. Christ on the way to Calvary.
* A. W.

burg.
Borne.

SOLARIO, Antonio da, called Lo Zingaro,
painter, was born about 1382, either at Venice, or
at Civita di Penna, near Chieti, or according to
Dominici, at Abnizzo, where, like Quentin Jletsys,
he followed the trade of a blacksmith till he was
seventeen, when he fell in love witli a daughter of
Colaiitonio del Fiore, and became a painter in order
to win her affections. He became a pupil of Lippo
Dalmasii in Bologna, and then visited the princi-
pal cities of Italy, studying under Vivarini in
Venice, Bicci in Florence, Galassi in Ferrara, and
the works of the old masters in Rome. He after-
wards returned to Naples, married the lady of his
choice, and distinguished himself as a painter.
Among his best works are twenty frescoes in a
court of the convent of San Severino, Naples, from
the life of S. Benedict. A 'Madonna with Saints,'
in the Museum, an 'Ascension of Christ, with
Saints,' in the church of Jlonte Oiiveto, and the
following pictures in galleries, may also be
named :

Dresden. Gallery. Portrait of a Young Priuce.

„ „ Portrait of a Youug Priucess.

(Prohahly the portraits of Alpkonso 1'., King of Arragon,
Sicily, and Naples, and of Joanna 11., Queen of Naples.)

Munich. rinakothek. S. Ambrose in Episcopal Dress.

„ ,, S. Louis, Bisliop of Toulouse.

Naples. Museum. Madouna with Saints.

„ Monte Oiiveto. Ascension of Christ.

P.-uis. Louvre. A Madonna.

Solario died at Naples in 1455.

100

SOLDI, Andrea, portrait and history painter,
was born at Florence about 1682. After a visit
to the Holy Land, he came to England, about
1735. He was a good draughtsman, and found
considerable employment as a portrait painter, but
was very thriftless. He died soon after 1766.

SOLE, DAL. See Dal Sole.

SOLEMACKEK, J Frans, (Soolemakeb,) a

landscape and cattle painter, of whom little is
known. He lived at the same time as Wynants,
Buisdael, and Berchem. It is supposed that he
was a puiiil of the last, but of that tliere is no
proof. He inritated Berchem in the grouping and
forms of his cattle ; but in handling he was with-
out the freedom of that master ; his shadows are
black, and the general appearance of his pictures
heavy. He painted cows, sheep, and goafs better
than horses. His pictures are generally of small
dimensions, always on panel, and a good specimen
may be a locum tenens for a Berchem. There is a
good example of his art in the Hague Museum.

SOLERI, GloiiGio, painter and sculptor, and a
nativeof Alessandria, flourished in the 16th century.
He was probably a disciple of Bernardino Lanini,
whose daughter he married, though he did not
adopt his style. He worked at the Escurial for
Philip II. of Spain. As a painler of portraits he
holds a respectable position. An altar-piece, in the
church of theConventuali.at Alessandria, represent-
ing the Virgin, to whom SS. Augustine and Francis
are recommending the city of Alessandria ; and a
S. Lorenzo kneeling before the Virgin, with a
group of three Angels, in the church of the
Domenicani, at Casale, which is signed with his
name, and dated 1573, are his chief works as a
painter of religious subjects. Soleri died in 1587.

SOLFAROLO, II. See Tavella.

SOLIMENA, Francesco, (Solimene,) called
l' Abate Ciccio, was born at Nocera de Pagani, a
small town about eighteen miles distant from
Naples, in 1657. He was the son of Angelo
SoLIMENA, an obscure painter, who had been a
disciple of Cavaliere Massimo. Angelo had his
son instructed in classical learning, and the boy
is said to have often passed whole nights in the
study of poetry and pliilosophy. In spite of this
assiduous application he managed to cultivate his
talent for art, and Cardinal Orsini, afterwards
Pope Benedict XIII., happening to pass through
Nocera, saw his designs, and persuaded his father
to indulge his son's inclination. After studying two
years under his father he went to Naples in 1674,
where he first became a disciple of Francesco di
Maria, but left that master to enter tlie school of
Giacomo del Po. He afterwards went to Rome,
where the works of Pietro da Cortona, Lanfranco,
II Calabrese, Guido, and Carlo JIaratti were his
models. Among his best works are a series of
frescoes in S. Paolo JIaggiore, others at Naples
and Monte Cassino, and the ' Last Supper,' in the
refectory of the Conventuali at Assisi. In 1702
he was commissioned by Philip V. of Spain to
paint some pictures for the Royal Chapel at Madrid.
He was the friend of Luca Giordano, and formed
many scholars, among whom the best known are.
Seb. Conca, C. Giaquinto, N. M. Rossi, S. Capella,
and F. di JIura. Solimena was also a poet and
musician. He died at Naples in 1747.

Dresden Gallery. Death of S. Francis.

„ „ Abduction of Hippodamia.

j5 ,, Paris, Juno, and Iris.

., „ Sophonisba, &c.

ANDREA SOLARIO

," TTj^Tt^e-*-

m.y

-*?•/' -

^^9-

■'/'!%*^ir-/^i-«-'

Bngi photo]

[Bifva Gallery, Milan

THE REDEEMER

PAINTERS AND ENGRAVERS.

Florence. Vffizi . His own Portrait.

„ „ Diana at the Bath.

Genoa. Due. Pal, Triumph of Mordecai.

Madrid. Museum., The Brazen Serpent,

., „ Prometheus.

Milan. Brera. Meeting of a King and Pope.

„ „ Establishment of a Religious

Order.
Naples "S. Paolo. Conver.sion of S. Paul.

„ „ Fall of Simon Magus.

„ Gesit Nucno. Heliodorus driven from tho

Temple.
Paris. Louvre. The same Subject.

Eome. CorsUii. Entry of Christ into Jerusalem.

,v ,t S. John the Baptist.

Vienna. Gallery. Cephalus and Aurora, and

several others.

SOLIS, Francisco de, a Spanish painter, born
at Madrid in 1629, was instructed in art by his
father, Juan de Solis, a little-known painter.
Intended at first for the Church, lie wag led to take
up art in earnest by the success of a picture painted
in his eighteenth year, which attracted the notice
of Philip IV., who directed him to put his name
and age upon it. This brought him into public
favour, and he obtained much employment. When
Queen Louisa of Orleans made her solemn entry
into Madrid, he contributed a series of paintings
representing the labours o£ Hercules to the decora-
tion of the city ; but tlie work which established
his reputation was an ' Immaculate Conception of
the Virgin, with the Dragon at her Feet.' For many
years De Solis held an academy in his house,
to which all young artists were admitted free
of expense, to draw from the living model. He
wrote an account of the lives of Spanish painters,
sculptors, and architects, and even engraved several
of their portraits, which he intended to publish,
but was prevented by death. This manuscript is
now lost. He died at JIadrid in 1684. He left
an enormous collection of books, prints, and draw-
ings, which he intended to bequeath to the Spanish
nation, but as he never executed the necessary
deeds all his treasures had to be sold.

SOLIS, NiCLAS, engraver of the 16th century, a
son or brother of Virgil Solis, published fifteen pi ates
representing the Marriage Festivities of Duke
William V. of Bavaria and the Duchess Renata of
Lorraine in 1568.

SOLIS, Virgil, a German engraver, bom at
Nuremberg in 1514. He engraved both on wood
and on copper, chiefly from his own designs. The
copper-plates worked in the early part of his life
resemble those of Hans Sebald Behani, but when he
afterwards engraved after the Italian masters, he
adopted a style more open and spirited. His
woodcuts are similar to those of Jost Ammon,
with respect both to composition and execution.
His works prove him to have been a man of
ability, though his design is formal and stiff.
He has been sometimes called a little master.
His prints are very numerous, amounting to
upwards of eight hundred. He usually marked
them with a cipher composed of a V. and an S.,

thus,^^. or''J_^. He died in 1562. Among

his multifarious productions are the following :

FLAXES.

A variety of small Engravings on copper, representing

hunting subjects ; dated 1541.
A set of vases and ornaments for goldsmiths. 1541.
The Marriage of Cupid and Pysche, the Assembly of tha

Gods, Parnassus, and other subjects ; after Raphael.
, The Bath of the Anabaptists ; copy from Aldegrever.

WOOD-CTTTS.

Several sets of small historical subjects from the Bibls
The Metamorphoses of Grid, in one hundred and seventy

cuts ; published at Frankfort in 1563.
A set of cuts for Nicholas Eeuser's Emblems. 15S1.
Another for the Emblems of Amlreus Alciatus. 1581.
A series of French Kings from Pharamoud to Henry III,

SOLLAZZINO It, a Florentine painter, whose
real name seems to have been Giolano da Monte-
lupo, was born about 1470, In 1506 he was work-
ing at Pistoja, in conjunction with G. B. Volponi.
He painted an altar-piece for S, Slefano at Serra-
valle, and other works in Casole and Pisa, in which
latter city he died in 1543.

SOLOilAYOR, Luis de. See Sotomayor.

SOLOMON, Abraham, painter, was born in
London in 1824, went in 1838 to an Art School in
Bloomsbury, and in 1839 was admitted to the
Academy scliools. From 1843 he contributed pic-
tures to the Academy and British Institute. His
' Waiting for the Verdict,' exhibited at the Academy
in 1857, and its sequel, 'Not Guilty' (1859), estab-
lished his reputation. Other pictures by him
which have become well known through engrav-
ings are, ' Third class — the P.arting,' and ' First
class — the Return' (1854), ' Le Malade Imagin-
aire,' and 'Consolation' (1861). His last ex-
hibited work was ' The Lost Found,' and he died
still young at Biarritz in 1862.

SOLOSMEO, II, an Italian sculptor and painter,
whose real name appears to have been Antonio di
Giovanni, was a scholar of Andrea Sansovino the
sculptor, and of Andrea del Sarto. In the church
of Badia di San Fedele at Poppi there is a panel of
the Virgin and Child, with SS. John Baptist,
Francis, Sebastian, and John Gualberto, inscribed :

ANTONIUS SoLVSMEVS SCULTOR M.D. XXVII.

SOLSERNUS. This name, with the date 1267,
appears on a large mosaic of the Bj-zantine type,
representing Christ enthroned, with the Virgin
and S. John, on the exterior of the Cathedral at
Spoleto.

SOLVYNS, Frans Baltasar, a marine painter,
born at Antwerp in 1760, was a pupil of Querte-
mont. After gaining several prizes at the Antwerp
Academy he went to Paris, and studied under
Vincent. His sea-pieces, however, are not numer-
ous, as his fondness for travel led him to visit
India, where he found materials for some threa
hundred coloured plates illustrating the occupa-
tions, festivals, and costumes of the Hindoos, which,
when published, were unsuccessful, and involved
their author in pecuniary embarrassment. He died
in 1824. One of his marine pieces, a view from
Ostend, is in the palace at Vienna.

SOLY, Arthur, an obscure English engraver,
who lived about the year 1683. He was employed
by Robert White, and engraved a few portraits,
among which are the following :

His own Portrait ; dated 1633.
Richard Baxter. Presbyter. 1633.

Tobias Crisp, D.O., Rector of Brinckworth, 'Wiltshire ;
prefixed to his Sermons. 1639.

He died about 1695.

SOMER, Jan van, (Somere.v,) was probably a
relation of Mathyg van Somer, and flourished
about the year 1675. He engraved some indifferent
mezzotints from the Dutch painters and a few
portraits ; among them the following :

The Duchess of Mazarine.
Charles Louis, Elector of Bavaria.

101

A BIOGRAPHICAL DICTIONARY OF

Michael Adriansz de Ruyter, Dutch Admiral ; after

Karel Da Jardin.
Peasants drinking ; after A. Both.
Dutch Boors regaling ; after A. Ostade.
A Flemish Concert ; after Teniers.
A Conversation ; after Terhirg.
A Drinking Party ; after his oicn design.
Abraham and the Angels ; after Pieter Lastman.

He usually marked his plates with the following
monogram ■*••

SOMER, Mathys van, (Sommeben,) a Dutch
engraver, who flourished about the year 1660. He
engraved a set of landscapes, marked with the
initials M. V. S., and his name is affixed to a small
oval portrait of John Ernest, dated 1666. There
are many other portraits by him ; among them,
that of Oliver Cromwell.

SOMER, Paul van, painter, was born at Antwerp
about the year 1576, and according to Van Mander,
resided at Amsterdam in 1604, with his brother
Bernard, where they practised portrait painting
with great success. Paul Van Somer soon after-
wards visited England, where the great majority of
his works are now to be foimd. His portrait of
the Lord Chamberlain, William, Earl of Pembroke,
is in St. James's Palace. He painted two pictures
of James I., one of which was engraved by Vertue ;
Queen Anne of Denmark, and Cliancellor Bacon
(at Panshanger), Lord Falkland and Lady Mande-
ville, and the Earl of Arundel and his wife (in the
collection of the Duke of Norfolk). Van Somer
died about the age of fortj^-tive, and was buried in
St. Martin's-iu-the-Fields, as appears by the regis-
ter January 5. 1621 : Faulus Vansomer 2^i<^tor
eximius sepitltus fuit in ecdesid. Works :

Hampton Court. Christian IV. of Denmark.

„ James I.

„ Anne of Denmark. 1617.

„ James I. in his robes.

„ Anne of Denmark. Ditto.

Londou. 2^'^at. Tor. Gall. James I.

„ „ Anne of Denmark.

„ „ Lord Bacon.

„ „ Countess of Southampton.

Lady Morton with two other ladies. 1615.
Sir Simon 'Westou. 160S.
The Marquis of Hamilton.

SOMER, Padl van, engraver, apparently of the
same family with Jan van Somer, was born at Am-
sterdam in 1649. After residing and working some
time in Pnri'j, he came to England, and settled in
London, where he died in 1694. He etched, en-
graved, and was one of the first to scrape in mezzo-
tint. The following are his best-known prints :

Portrait of the Duke of Bavaria and bis Secretary. 1670.

The Countess of Meath ; after Miynard.

Tobit burying the Dead Hebrew ; after Scb. Bourdon.

Moses saved from the Nde; after A'. Foussiii.

The Baptism of Christ ; after the same.

The Fable of the Old Man and his Ass ; a set of six
etchings ; after Griffier.

The Four Times of the Day ; from his own designs.

The Adoration of the Shepherds ; froM the saine.

The Holy Family ; /roM the same.

SOMERS, Louis J., a Flemish genre painter,
born at Antwerp in 1813. He was a pupil of De
Braekeleer ; his best-known works are a ' Village
School,' and ' Monks Chanting.' He died in 1880.
SOMERVILLE, Andrew, painter, was born at
Edinburgh about 1803. He was educated at the
Trustees' Academy. He practised at Edinburgh,
and in 1831 became an associate member of the
:Royal Scottish Academy. In the following year
he was promoted to the full membership, but died
102

Bhortly after his election, in 1833. His most popular
pictures were ' Flowers of the Forest,' and ' The
Bride of Yarrow.'

SOMMERAU, Ludwig, draughtsman and en-
graver, but better known in the latter capacity, was
born at Wolfenbiittel in 1750. He was a scholar
of Mechel at Basle. He engraved portraits ; pic-
tures after Guido, Domenichino, and Guercino;
also a series of twenty plates after the tapestries
designed by Raphael and his pupils. These were
published at Rome in 1780, and in London in 1837,
with six additional plates, and letterpress by
Cattermole.

SOMMEREN. See Somer.

SOMPEL, Pieter van, (SOMPELEN,) engraver,
born at Antwerp about the year 1600, was taught
engraving by Pieter Soutman, whose style he
followed. His plates are neat, particularly his
portraits. The following prints by him may be
named :

Paracelsus ; after Soutman.

Henry, Count of Nassau ; after the same.

Philip of Nassau, Prince of Orange ; after the same.

The Emperor Charles V. ; after Rubens.

Cardinal Ferdinand, brother to Philip IV. and Governor
of the Netherlands ; after J'andyck.

Isabella Clara Eugenia, Infanta of Spain ; after the same,

Gaston, Duke of Orleans ; after the same.

Margaret, his consort ; after the same.

Philip the Good, Duke of Burgundy ; after J. tan Ei/cls.

Frederick Henry of Nassau ; after G. llonthorst.

Christ with the Disciples at Emmaus ; after Rubens.

The Crucifixion ; after the same.

Juno and Ixion ; after the same.
The only certain date in connection with this
master is 1643, on his 'Christ at Emmaus,' afier
Rubens.

SON, Jan van, (ZOON,) the son of Joris van
Son, was born at Antwerp about the j'ear 1650.
Walpole calls hiin Francis. He painted similar
subjects to those of lii.s father, by whom he was
instructed. He came to England when young, and,
having married the niece of Robert Streater. suc-
ceeded to a great portion of her uncle's business.
He painted flowers, fruit, dead game, vases, curtains
fringed with gold, Turkey carpets, and similar ob-
jects. He composed well ; his touch was free and
spirited, and his colouring rich and transparent.
He is said to have died in London in 1700, but the
date is uncertain ; some would put it as late as
1723. Pictures by him are to be found at Augs-
burg, Brussels, Dresden, and Lille.

SON, Joris van, (or ZOON,) born at Antwerp in
1622, excelled in painting flowers and fruit. His
pictures are well composed, his handling easy, and
his colour transparent. His death occurred about
1667.

SON, Nicolas de, (Antoine ?) a native of Rheim9,
who flourished about the year 1628, imitated tlie
style of Callot with success. We have several
etchings by him from Callot's designs, as well as
some from his OAvn compositions. Among them
we may name :

A set of small Landscapes with figures and buildings.

The Village Fair ; after Callot.

The Companion, representing a street, with a coach in
the back-ground, and several female figures.

Facade of St. Nicaise, Rheims.

Porch of Kheims Cathedral.

SONDER. See Cranach.

SONDEULAND, Johann Baptist Wilhelm
Adolph, painter and etcher, born at Diisseldoif in
1805, was a pupil of the Academy there, under
Cornelius and Schadow. He produced many genre

PAINTERS AND ENGRAVERS.

pictures, which are distinguished by humour and
by fertility of invention. He designed illustrations
for Reinick's ' Painters' Songs,' for Immennann's
' Miinchausen,' and for several religious works. He
also etched a few plates. He died at Diisseldorf
in 1878.

SONDERMANN, Hermann, German painter ;
born October 19, 1832, at Berlin ; studied at the
Academy and with Professor Otto, at Berlin ; also
worked at Antwerp and Diisseldorf with Schndow
and Jordans. After some years' (1859-61) residence
nt Berlin lie settled at Diisseldorf ; painted por-
tnits and genre, as, for instance, ' Unsere Helden '
(Wiesbaden Gallery), ' Dus Kaffeekriinzchen,' ' In
der Schule,' &c. He died at Diisseldorf, April 2,

1901.

SONJE, Jan', painter, born at Rotterdam, flour-
ished in the 17th century. In 1646 he entered the
Painters' Guild at Delft, but left that city about
1654. He painted large mountain landscapes in
the Italian manner, with blue skies, silver clouds,
diirk foregrounds, and figures of men and animals.
He also painted Rhine scenery in the style of
Sachtleven. Pictures by Sonje are to be found
in the Museums at the Hague, Rotterdam, and
Augsburg. He died in 1691.
SONMANS. See Sunman.

SONNE, JoRGEN V.4LENTIN, a Danish painter,
born at Birkerod in Zealand, June 24, 1801, was
destined for the army, but soon abandoned a mili-
tury career for art. He received his first teaching
at the Copenhagen Academy, and came out as a
painter of military life and of animals. In 1829 he
went to Munich, and studied for a time under Hess,
and three years later he made liis first journey to
Rome, where he remained for some time, painting
principally scenes from popular life. On his return
to his native country he painted a large number of
peasant pictures, but the Schleswig campaign of
1848 furnished him with subjects for many works
in his early manner. He painted the frescoes on
the exterior of the Thorwaldsen Museum. He be-
came a member of the Academy in 1846, and was
decorated with the Dannebrog Order in 1852.
Works :

Copenhagen. Gallery. Tyrolese defending themselves
among their Mountniii?.
„ The Attack on Duppel, June 5,

1S4S.
„ „ The Battle of Isted.

„ The Sortie from Fredericia,

July 6, 1849.
{And seven others.)

SONNIUS, Hendbik, a Dutch painter, who
flourished at the Hague about tlie middle of the
ITtli century, and was a pupil of Jan van Rave-
steijn. He was one of the forty-seven artists who,
in 1656, founded the Pictura Society. He is said
to have come to England, and to have died here
at an advanced age.

SONVILLE, Da (or SONNEVILLE). See
Dassonvh.le.

SOOLEMAKER. See Solemackeb.

SOPOLIS, an ancient painter, mentioned by
Pliny as flourishing at Rome about eiglity-seven
years before Christ.

SOPRANI, Rafeaello, born at Genoa in 1612,
of a noble family, was an amateur landscape painter,
and theauthor of a biography of the Ligurian artists.

RORDICHIO. See Biagio, Bernardino.

SORDILLO DE PEREDA, El. See Dell' Abco.

SORDO, Giovanni del, called Mone da ?1£A,

an Italian painter of the 18th century, a pupil of
F. Barooci. He practised at Pisa, and had the
repute of a skilful colourist.

SORDO, GiROLAMO, also called Qirolamo Pado-
vano and Girolamo del Santo, is credited with
various frescoes of a semi-Brescian, eemi-Paduan
class, in churches at Padua and elsewhere. Traces
of him occur as late as 1546.

SORDO DI SESTRI, II. See Travi.

SORDO D'URBINO. See Viviani.

SORE, Nicolas de. See Son.

SORELLO, Miguel, a native of Spain, born at
Barcelona about 1700, established himself at Rome,
where he learned engraving from Jakob Frey. He
was one of the engravers employed on the ' An-
tiquities of Herculaneum,' published in 1757 —
1761. He engraved several prints after the Italian
masters, but his principal work is a set of eight
plates from Raphael's tapestries in the Vatican.
He died in 1765.

SORENSEN, Carl Friedricii, a Danish painter,
born at Samsoe in 1818. He painted chiefly land-
scapes and sea-pieces. For the study of marine
effects he made trips to the Mediterranean and
elsewhere in Danish war-ships. He won a wide
reputation, exhibiting in London and Paris as well
as his native cit}'. He became professor of painting
in the Academy of Copenhagen, in which city lie
died in 1879. In tlie Copenhagen Gallery there are
three sea-pieces by him, and in that of Stockholm
two.

SORGH, Hendbik MARXENf^zooN Rokes, (or
ZORG,) painter, was born at Rotterdam in 1621.
He was the son of Martin Rokes, the master of the
passage-boat from Rotterdam to Dordrecht, who, on
account of his care and attention to passengers
and to the commissions he received, acquired the
appellation of Sorgh, or Careful, and the name
descended to his son. Having shown an early
disposition for art, the latter was sent to Antwerp,
and placed under the tuition of Teniers the younger.
He is also said to have studied under Willem do
Buytenweg. His pictures represent conversations,
fairs, fish-markets, and the interiors of Dutch apart-
ments, with figures regaling and amusing them-
selves, in some of which he sometimes imitated the
style of Adriaan Brouwer. The general character
of his works is a mixture of features from the above-
mentioned artists. His colour is warm, his impasto
thin and fused. He died in 1682. Works :

Amsterdam.

R. Museum.

A Fish Market.

Ang.sburg.

Gallery.

Peasant'^ Smoking.

Lruu.swick.

Labourers in the Vineyard.

,»

Peasants Conversing.

Dre.silen.

A Cook and Fishermen.

London.

Kat. Gall.

Boors at Cards.

„

JIau and Woman Drinking.

Munich.

Gallery.

A Peasant Family.

„

Au Ale-house Interior.

Paris.

Louvre.

A Kitchen.

Petersburg.

Hermitage.

Peasants Quarrelling.

„

A Sea-piece.

SORIANI, NiccoLO, a Cremonese painter of the
15th century, was the maternal uncle of Garofalo,
to whom lie gave some early lessons.

SORIAU, Daniel, (or Peter,) a German painter
of the 17th century, details of whose life are un-
known. At the Copenhagen Gallery there is a
still-life picture by him of flowers, fruit, and
gold and silver plate.

SORLAY, JEROME, a French painter of the 17th
ceutury, the pupil of Mignard. In 1664 he painted

103

A BIOGRAPHICAL DICTIONARY OF

a ' Christ appearing to S. Peter on his Fh'ght
from Kome.'

SOPiNIQUE, Dominique, a Frencli engraver,
born in Paris in 1707. He was a pupil of Charles
Simoneau, wliose style of engraving lie followed
with considerable success. His vignettes and other
plates for books are neatly executed. He also en-
graved several portraits and other subjects, among
them the following :

The Cardinal de Richelieu ; after Nanteurl.

Jean Louis, Due d'Epernon ; aj'Ur the sirme.

Louis de Bourbou, Admiral of France ; after Miynard.

Marshal Saxe ; after Ritjaii.l.

Diana and her Nymphs ; after Correggio.

Dauae ; after the same.

The Kape of the S.ibines; after L. Giordano.

Peasants regaliug ; after Tenters.

He died in 175(5.

SOROKIN, Paul Semenovich, Russian painter
and Academician ; was born in 1831. He devoted
himself to sacred subjects, and died in 1886.

SORKI, PiETBO, born at S. Gusm^, near Siena, in
1556, was for some time a scholar of Arcangelo
Salimbeni, but afterwards studied at Florence under
Cavaliere Passignano, whose daughter he married.
He adopted the eclectic system of liis father-in-law,
■whom he accompanied to Venice, where he improved
his manner by studying Paul Veronese. Less facile
than Passignano, his colour is more durable, and
his drawing more correct. He afterwards went to
Genoa and Rome, and died in 1622.

SOSIAS, a Greek vase painter, some of whose
works are still extant.

SOTO, Jdan de, a Spanish liistorical painter,
born at Madrid in 1592, was one of the best
scholars of Bartolom<5 Carducho, and assisted him
in several of his works. While still very young,
he was selected to decorate in fresco the queen's
dressing-room in the palace of the Pardo. He ob-
tained a considerable reputation with his pictures
in oil ; they were much in tlie style of his master,
pure in design, and harmonious in colour. The
expectations he had raised were, however, dis-
appointed by his earl}' death at Madrid in 1620.

SOTO, Lorenzo de, horn at Madrid in 1634,
was the pupil of Benito Manuel de Agiiero, whose
manner he imitated. He painted landscapes, with
hermits and saints and religious figure subjects.
Among the latter a scene from the life of Sta. Rosa
served as an altar-piece in the church of the Atocha
at Madrid. In consequence of an attempt by
government to tax artists, Soto abandoned painting
and retired to Yecla, in Murcia, where he became
collector of the royal rents. During this period of
retirement, he painted landscapes, which are praised
by Palomino. After an absence of about fifty years
he returned to Madrid, but his works were looked
at with indifference, and he was reduced to selling
them in the public places for a subsistence. He
died in 1688.

SOTOMAYOR, Luis de, born at Valencia in
1635, became a disciple of Esteban March, the
painter of battles, but refusing to submit to that
master's caprices, he left him for the school of
Juan Carreno, at Madrid. After ?. time he returned
to Valencia, where he enjoyed much success. He
had a fine talent for composition, and was an excel-
lent colourist. He painted a ' St. Christopher in
company \vith Christ and the Virgin,' and a ' St.
Augustine,' for the Augustine nunnerj- ; and for
the Carmelites, two large scenes from the legend of
the miraculous discovery of an image of the Virgin,
104

called ' La Morenita,' which is an object of their
great veneration. He died at Madrid in 1673.

SOUBEYRAN, Pierre, born at Geneva in 1697
(1708). He resided several years in Paris, where
he engraved some of the plates, after Boucliardon,
of antique gems in the king's cabinet, for a publi-
cation of Slariette's. He also engraved a variety
of plates for books after Cochin and others. Re-
turning to Geneva in 1750, he there practised as aa
architect, and became director of the art school.
The following prints by him may also be named :

The Portrait of Peter the Great ; after Caravaqtie.
The Arms of the City of Paris ; after Bouckurdon.
The Fair Maid of the Village ; after Boucher.

He died in 1775.

SOUCHON, FRANr;oiS,.born at Alais in 1786, was-
a pupil of David, and a friend of Sigalon. He
painted heroic landscapes and historical pictures,
and made many excellent copies from the great
masters. Many of his works are at Lille, where he
was director of the Painting School from 1836-
to 1857, and where he died in 1857.

SOUKENS, Jan, a Dutch painter and engraver
of the 16th century, born at Bommel. He was a
pupil of Jan Vorsterman, and painted river views
with figures. His two sons, Gisbert, 1685 — 1760,
and Hendrik, 1680 — 1711, were also landscape
painters.

SOULARY, Claude, painter, born at Lyons in
1792, was a pupil of Revoil and of Gros. For
forty-seven years he directed the School of Art at
Saint Etienne, where he died in 1870, and where
there are several of his pictures in the museum.

SOUL^S, Eugene Edouabd, painter, born in Paris.
He was a frequent exhibitor of landscapes in oil and
wafer-colour at the Salon from 1831 to 1872. He
died in 1876.

SOUMANS. See Sunjian.

SOUMY, Joseph Paul Maeius, engraver, was born
at I'uy Amhlay in 1831, learned drawing in Lyons,
and then entered the atelier of Guj-, and afterwards
that of Bonnefond, studying engraving under Vi'^ert
at the same time. ,1d 1852 he went to Paris, and
worked first in the Ecole des Beaux Arts, and then
under Henriquel Dupont. In 1855 he visited Italy,
where he painted portraits, landscapes, and genre
pictures, and made several copies after Raphael,
Michelangelo, &c. He also etched a portrait after
Giorgione, and Titian's Francis I. On his return
to France he led a desultory life, engraving for
printsellers, and then for Flandrin, for whom his
chief work was the ' Entry of Christ into Jerusalem '
Depression caused by a disease of the eyes led him
to commit suicide at Lyons in 1863.

SOUNES, William Henrv, was born in London
in 1830. In 1855 he became modelling master in
the Birmingham School of Art, and later, head
master of tlie Shefiield School of Art. He died at
Sheffield in 1873. In the South Kensington Museum
there are two architectural drawings by him.

SOURCHES, Louis-Franqois du Bouchet,
Marquis de. Grand Provost of France, and amateur
engraver, was born at the commencement of the
17th century. He handled the point in the manner
of Stefano Delia Bella, of whom it is supposed he
took lessons during the residence of that artist iir
Paris from 1640 to 1649. In the Bihliotheque at
Paris are preserved nineteen pieces by him. Tliey
are copies after Delia Bella, and are so exact that
proofs before letters have been mistaken for the
originals. This series is entitled ' Diuerses figures
et Jlaneiges de Cheuaux Gravies par le Marquis d?

PAINTERS AND ENQRAVEB&

Sourches. Acconiing- to le Pere Lelong (Biblio-
th^qiie Historique de France), this artist engraved
the portrait of JIadame de Nevelet, the wife of a
cotmsellor of the Parliament of Paris ; but it has
escaped the researches of Dumesnil. That writer,
however, (torn, ii.) describes a series of twelve
plates by Sourches which are still rarer than those
in the French National Library. Their titles are
as follows :

Le Berger.

Le Depart ponr

L'Homme de Quality

Cha-sse.

La Tame de Qua'ite.

Le Promeneur.

Le Duel.

I^e Pecheur.

Le Porte-drapeaa.

10.

Le Piiits.

La Marchande de vieux

11.

T.es Ramoneurs.

Habits.

12.

Le Batelier.

One of these, No. 4, was ascribed by Mariette and
Gersaint to Delia Bella himself.

SOUULEY, JerOme. See SoRL.iY.

SOUTilAN, PlETER, a Dutch painter and en-
graver, bom at Haarlem in 1590, was a pupil of
Rubens, and is said to have painted historical sub-
jects and portraits with considerable success, par-
ticularly at the courts of Berlin and Warsaw. He
was one of the group of Flemish engravers attached
to the school of Rubens, who carried the vigour of
the art to a hei,:,'ht scarcely equalled by any other
workers with the burin. We have several plates by
him from his own designs, and from those of Rubens
and other masters. He appears to have aimed at
giving a striking effect to his plates, \>y keeping
the lights broad and clear ; but by carrying this
notion too far, many have a slight, unfinished ap-
pearance. The following are, perhaps, his best
plates :

The Fall of the Rebel Angels ; after Rubens.

The Kout of Sennacherib ; after the same.

Christ giving the Keys to St. Peter ; from a dTaving

htf Rufiens, afttr Hajyfiael.
Tlie Draught of Fishes ; after the same.
Consecration of a Bishop ; after the same.

SOWERBY, James, an English natural-history
draughtsman and engraver, born in 1757. He pub-
lished, and illustrated many works, which obtained
for him a good reputation. He lived in Paris in
the latter part of his career, and died in 1822. The
following are some of the works on which he was
engaged :

' The Florist's Delight.' 1791.

' English Botany.' 1790—1820.

'English Fungi.' 1797.

' British Mineralogy.' 1804-17.

' Elucidation of Colours.' 1S09.

Sir J. E. Smith's ' IconesPictai Plantarum.' 1T90-3.

Ditto, ' Spicilegium Botanicum.' 1791-2.

Ditto, ' Botany of New Holland.' 1793.

Shaw's ' Zoology of Xew Holland.'

SOYE, PHii-irPB DE, (or De SERicrs), a Dutch
engraver, bom 1538, died after 1567, pupil of
Cornells Cort ; engraved the compositions of
Italian masters and a series of twenty-eight
portraits of popes.

SOYER, EMM.i, nee Jones, was bom in London
in 1813. Before she was twelve years of age she
had drawn more than a hundred portraits from life.
In 1836 she married Soyer, the famous chef-de-
cuisine. Besides sketches and drawings she painted
many pictures. Her ' Jewish Boy selling Oranges '
was engraved by Gerard. She died in London in
1842.

SOYER, Hass, a Flemish painter, practising at

Ypres about 1323. He painted the portraits of the
Count and Countess of Flanders for the municipality
of Ypres, for which he received the sum of twenty
sous (16s. id.).

SOYER, Jean, a French miniaturist, who prac-
tised at Tours at the close of the 15th century, and
was employed in the illumination of the smaller
Livre dUeuTCS of Anne of Brittany.

SPACKMAN, Isaac, an English painter, practis-
ing about the middle of the 18th century. He was
best known as a painter of birds and animals. He
died at Islington, January 7, 1771.

SPADA, LiONELLO, born at Bologna in 1576.
His parents were extremely poor, and he was
placed in the service of the Carracci as a colour
grinder. This employment gave him an oppor-
tunity of picking up some knowledge, and he
showed so much capacity for art, that his masters
admitted him into their academj'. His progress
was rapid, and he became an eminent member of
the Bolognese school. After a time he turned to
the energetic style of Caravaggio, and he went to
Rome to study under that master. With Cara-
vaggio he went to Naples and llalta, afterwards
visiting Modena, Ferrara, and Reggio. On his re-
turn to Bologna, he painted the 'Miraculous Draught
of Fishes,' for the refectory of S. Procolo, and an
altar-piece in the church of S. Domenico, which is
considered his best performance. The latter part
of his life was passed at Parma, in the service of
the Du!;e Ranuccio, by whom he was patronized
until the death of that prince. He did not long
survive his protector, and died at Parma in 1622.
He sometimes marked his pictures with a sword,
(in Italian Spada,) crossed with the letter L.
Works :

Bologna. 5. Domenico.

, S. Michele in Bosco.

Dresden.

Florence.

Madrid.

Modena.

Naples.

Paris.

Pinacoteca.
Gallery.

rffizi.

Jtluseum.
Gallery.

r>
Museum.

Imivre.

Parma. Carmelite Church.
,, S. Sepolcro.

iieggio.

Church of the
Madonna.

Rome. Pal. Borghese.

S. Jerome.

S. Dominic burning the heret-
ical books.
Frescoes from the Lives of S.
Benedict and S. Cecilia.

Melchizedek blessing Abraham.

Cupid.

David conqnering Goliath.

His own Portrait.

S. Cecilia.

Fortune- Teller.

Madonna with S. Francis.

Cain and Abel.

Christ on the Cross.

Retiun of the Prodigal.

Martyrdom of S. Christopher.

.£neas and Anchises.

A Concert.

St. Jerome.

The Slartyrdom of S. Catha-
rine.

I David and Abigail.

Judith and Holofemes.
Esther and Ahasuerus.
The Virtues.
A Concert.

SPAD.\, Lo. See Marescalco, Pietro.

SPADARO, Micco. See Garghtoli.

SPADEN, Ja:*, a Flemish painter of the 14th
century, who practised at Louvain, and is recorded
in the town registers, under the sobriquet of Jan
Oliepot (oil-pot), to have worked for the Com-
mune from 1364 onwards. He died some time be-
fore 1394. His son Jas was also a painter.

SPAENDOXCK. Corn'ELIS van-, brother of Gerard
van Spaendonck, bom in 1756, was also a painter
of flowers. He was chiefly employed at the Sfevres

105

A BIOGRAPHICAL DICTIONARY OF

porcelain factory, but occasionally painted portraits
in oil. He died in 1839.

SPAENDONCK, Gerard van, a distinguished
fruit and flower painter, was born at Tilburgh in
Holland in 1746, and studied under the elder
Herreyns at Antwerp. At tlie age of twenty-four
he went to Paris, where for some time he painted
miniatures, and fruit and flowers. His productions
became very popular, and were purchased with
avidity. In 1793 lie was lecturing at tlie Jardin
des Plantes, The title-page to his ' Fleursdessin^es
d'apres Nature' informs us that he was a member
of the National Institute, and Professor-Adminis-
trator of the Museum of Natural History in Paris,
where he died in 1822. The Fruit aud Flower
piece by him in the Louvre was in the collection of
Louis XVI.

SPAGIASI, Giovanni, an Italian painter, bom
at Reggio, who died in the service of the King of
Poland, in 1730.

SPAGIASI, Pellkgrino, was a pupil of Fran-
cesco Bibiena; he painted interiors and perspective
decorations, and also worked as a scene painter.
He died in France in 1746.

SPAGNA, Lo. See Giovanni di Pietro.

SPAGNGLETTO. See Kibera.

SPAGNUOLO. See Giovanni di Pietro.

SPAGNUOLO, Lo. See CREsn, Giuseppe Maria.

SPAGNUOLO Degli PESCI, Lo. See Herkera,
Francisco de.

SPALTHOF, N., a Dutch painter, who flourished
about the year 1650. He is said by Descamps to
have visited Italy, and to have studied there several
years. He excelled in painting fairs, markets,
carnivals, and merry-makings, somewhat in the
style of Theodorus Helmbrecker.

SPANGENBERG, Friedrich, historical painter,
born at Gottingen in 1843, began his career in
Munich under Ramberg. In 1861 he went to
Weimar, where he painted tlie ' Triumph of the
American Union' for the Capitol at Washington.
After that he returned to Munich, where he pro-
duced his ' Plundering Vandals,' and his ' Departure
of Geiserich from Rome with Eudoxia.' He met
>vith an accident in going up Vesuvius, and died
in 1874.

SPANGENBERG, Gdstav Adolf, German
painter; burn February 1, 1828, at Hamburg, was
a pu^iil of Kanfmann at Hamburg, and also of
Couture and Triqueti in Paris. He also studied
at the Hanau Gewerbeschule and the Antwerp
Academy. From 1855 to 1857 he travelled in
Ituly, England, and Holland, and finally established
himself at Berlin. He painted historical and genre
subjects, such as ' Lutlier musicirend,' ' The Pied
Piper of Hamelin,' ' \Valpurgisnacht,'_and ' Luther
at Worms'; also frescoes which are in the Halle
University. He was a professor and member of
the Berlin, Vienna, and Hanau Academies, obtain-
ing the Berlin gold medal in 1876, and the Vienna
medal in 1873. He died at Berlin, October 19,
1891.

SPANGENBERG, Louis, German painter,
brother of the above; born 1824 at Hamburg;
became a pupil of Eisenlohr at Karlsruhe, and also
studied with Kirchner at Munich. After lengthy
travel in Greece, Italy, Belgium, England, and
France, he settled at Berlin, where as a landscape
painter he became well known by such works as
'Im Engadin,' 'The Akropolis,' ' Osteria in Pied-
monte.' and others. He died at Berlin, October
17, 1893.

106

SPANZOTTO, Martino. This painter at nresent
shines chiefly with a reflected glory, since ue was
the first master of the celebrated Giovanni Antonio
Bazzi (Sodoma), and of the no less remarkable
Defendente Deferrari of Chivasso, the most dis-
tinguished painter of the Piedmontese School in
the early 16th century. The founder of the
Spanzotto family was probably Pietro di Capanigo
— perhaps an artist, though this is uncertain —
a native of Varese, who settled at Casale Mon-
ferrato before 1470. We learn that by his wife
Orsolina (of what family we know not), who died
in August 1489, he had four sons, Martino, Fran-
cesco, ViNCENZO, and Gabriele. The first three of
these appear from extant documents to have all
been artists, though Vincenzo was also a monk. The
latter decorated the Sacristy-presses in Sta. Maria
della Grazie at Milan ; while Gabriele, also a
priest, was in 1502 elected a canon of the
Cathedral of Casale, and Vicar-General of that
diocese from 1525, until his death on October 28,
1531. A portrait, now lost, but once belonging
to the Counts d'Arco of Mantua, of the unhappy
Bianca Maria Gaspardone (Madame de Ghallant),
dressed as a bride, has been attributed to this
Gabriele, but the attribution is doubtful, and it is
generally supposed that the painting was the work
of Martino. Padre Bruzza, on the strength of a
document dated 11th of June, 1528, brings forward
a son of Francesco, whom he styles Pier Francesco,
but more recent authorities are unable to find any
trace of such a person.

Martino moved from Casale to Vercelli on
August 11, 1491, and leased for a term of four,
or five years, from Giovanni Bartolommeo of
Conflentia, a house and a shop in the parish of Sta.
Maria Maggiore' in that city, thus becoming a
neighbour of the Bazzi family, whose famous
scion had been articled to him for seven years,
the year before (November 20, 1490). He married
Costantina, daughter of one Antonio Pianta, be-
longing to a noble family from Lauriano, near
Chivasso, and at the end of his lease would seem
to have returned to Casale, where he died some-
time between June 13, 1524, and November 11,
1528. He appears to have left two sons : Pier
Antonio, of whom presently, and Giovanni Ambro-
gio, a lawyer, who is recorded by Angiolo Salamoni
in his ' Memorie Storico Diplomatiche degli Am-
biasciatori, iucaricati d'afEari che la citti di Milano
invi6 a diversi principi ' as having in 1560 gone
in company with Camillo Castiglioni on an embassy
to Philip II. of Spain, and being one of the Causidici
Collegiati (members of the Guild of Notaries) of
Milan in 1562.

Until a comparatively recent date no well-
authenticated work of Martino Spanzotto's was
known to exist, and he was vaguely spoken of as
" an unknown painter on glass" ; but in 1899 an
undoubted and signed work (' Madonna and Child')
was acquired by the Royal Pinacoteca at Turin,
where it now hangs (Room 2, No. 30a). Another
' Madonna and Child,' attributed to the AnticOt
Scuola Piemontese, but almost certainly also by
him, is to be found in the Albertina Collection in
the same city (Koom 4, No. 150) ; and other
works still have been with good reason assigned
by competent authorities to him and his scholars,
though as yet opinions are divided upon the point;
the most remarkable among these being the
curious polyptych, ' Genealogy of the Madonna,
in the church at S. Antonio at Casale : and a

PAINTERS AND ENGRAVERS.

* Nativity,' with Saints and other subjects, in the
octagon Baptistery of the Cathedral at Chleri.
Two glafs lunettes, probably part of a larger
work, still preserved at the Santuario di Crea
in Monferrato, are also with considerable show of
probability assigned to him, and are the only
known examples of the branch of art to which —
but without great reason — he has been generally
supposed to have devoted most attention. The
works by him for which documentary evidence
exists have unfortunately entirely vanished. Thej'
jire :

A polyptych, erected in 14S8 by the Tana family in

their mortuary chapel in the church of S. Maria

delle Grazie at Chieri.

The decoration of a chapel in the church of S. Paolo

at Vercelli, commissioned by the noble family of

Ajazza, concerning which two documents dated

January 3, 1490, and January 11, 1492, are still

extant.

A painting representing ' S. Francis receiving the

Stigmata,' executed for Dorotea, widow of Sigismondo

Asinari, in 1524, for the Franciscan Chiu-ch at

Casale. R.H.H.C.

SPANZOTTO, Pier Antoxio. This artist, son

of the above Martino, was working from January

€, 154G, to the end of December 1549, in the

Castel di S. Angelo at Rome. He is mentioned

in a deed, dated June 1, 1561, anong the earliest

members of the Academy of St. Luke. He had

two daughters, Costantina, who in 1567 married

Pietro Rignoni, a barber from Vogogna, near

Novara; and Albina, who espoused a Florentine

■wood-carver, Giuliano di Cazerini or Zazerini

^perhaps Porticiiii). K.H.H.C.

! SPARMANN,KARLCHBlSTiAN,landscapepainter,

was born at Meissen in 1805. He became the

pupil of Arnold at Meissen, and of Dahl at Dresden,

and teacher of drawing to Prince Louis Napoleon,

in Arenberg. From the latter, when he became

Emperor of the French, he received a pension. He

died at Dresden in 1865.

SPARVIER, PiEP.p.E DE, a French painter, born
1660, was a pupil of Cesare Gennari at Bologna,
lie painted portraits and battle-pieces, and occa-
sionally flowers. He settled at Florence, where he
died in 1731.

SPECCHI, Alessandro, an Italian engraver,
who flourished from 1665 to 1706. He engraved
a set of plates from the palaces and public buildings
of Rome, which are executed in a spirited style.
These engravings were published by Dora, de Rossi,
La 1699. Speochi is supposed to have died in 1710.
SPECKLE, Veit Rodolph, (SPECKLIN,) an
old engraver on wood, who flourished at Strasburg
about the year 1540. He executed a set of cuts for
Fuchsius's ' Herbal,' published in that year, with
a whole-length portrait of the author, portraits of
Heinrich Fullmaurer and AJbrecht Maher, who de-
signed the figures, and the engraver's own portrait.
SPECKTER, Erwin, painter, was born at Ham-
burg in 1806. He worked at Munich under Cornelius,
but was influenced by Overbeck and Genelli. From
Hamburg, where he painted his ' Christ and the
Samaritan Woman at the Well,' he went in 1830
to Italy, where he produced a ' Samson and Delilah,'
and ' "Three JIarys at the Grave of Christ,' which
was engraved by Schroder. In his leisure he wrote
'Letters of an Artist from Italy.' He died at
Hamburg in 1835.

SPECKTER. Otto, brother of Erwin Speckter,
was bom at Hamburg in 1807. He practised as
a hthographer and book illustrator. In the latter

branch of art, the following are his best works :
Illustrations to Luther's ' Spiritual Songs,' Bellman's
' Epistles,' Eberhard's ' Hannchen und die Kiicli-
lein,''Pass in Boots,' and Klaus Groth's 'Quickbom,
which last is considered his most successful achieve-
ment. He died at Hamburg, April 29, 1871.

SPEECIvAERT, Hans, or Jan, a Flemish painter
of the 16th century, a native of Brussels, where
his father worked as an embroiderer. He lived
for some time in Italy, and worked both at Rome
and Florence. At Rome he became acquainted
with Arnold Mytens, and a close friendship sprang
up between them. He died at Rome about 1577.
Van Mander calls him an artist of great merit.

SPEECKAERT, J., a Flemish painter, bom at
Mechlin in 1748. He painted flowers and fruit,
and practised for some time in his native town,
but lived towards the close of his life at Brussels,
where he died in 1838.

SPEER, Martin, (or Michael,) a painter and
engraver, was born at Ratisbon in 1700. It is
said that he became a disciple of Solimeiia : at all
events he imitated his manner, and engraved some
of his allegories and martyrdoms. He painted seve-
ral altar-pieces and historical pictures, and there are
engravings by him after his own designs. They
are signed 21. Speer inv. et fecit, 1742. The time
of his death is uncertain, but Zani puts it in 1762.
SPELT. See Van deb Spelt.
SPENCER, Frederick, an American painter,
born at Canistota, U.S.A., in 1805. He studied art
in his native village, without a master. About
1830 he settled in New York as a portrait-painter,
where he met with much success, painting many
distinguished persons. He became a member of
the Academy in 1848, and in 1853 he retired to
Canistota, where he practised until his death in 1875.
SPENCER, Jarvis, (or Gebyase,) a painter in
miniature and in enamel, who flourished about the
middle of the last century. He began life in
domestic service, but by the help of his employer
and his family, developed his faculty for art, and
became a fashionable painter of the da}-. He
painted on ivory and in enamel. In 1762 he
sent some enamel portraits to the exhibition of the
Society of Artists, and some fine enamels bearing
the initials G. S. are his work. He etched his
own portrait, after Reynolds, a plate on which the
name George Spencer was afterwards erroneously
placed. Some portrait etchings by him in the
British Museum prove him to have been a good
draughtsman. He died October 30, 1763.

SPENCER, Lavinia, Countess, {nee Bingham,)
daughter of the Earl of Lucan, and wife of the
second Earl Spencer, was an amateur of some
ability. Some of her drawings were engraved,
among others ' The Orphan," by Gillray, and ' New
Shoes,' by Bartolozzi. She died June 8, 1831.

SPERANZA, Giovanni, an Italian painter of the
16th century. The dates of his birth and death are
both unknown, though he was probably a native of
Vicenza. Vasari states that both he and Bar-
tolommeo Montagna, with whom he has much in
common, were disciples of Mantegna, but there is
no proof of their personal acquaintance with the
Paduan master. The church of S. Giorgio, at
Velo, in the province of Vicenza, has an enthroned
' Virgin and Child with Saints ' by him ; and in
the gallery of Vicenza is an ' Assumption of the
Virgin, with S. Thomas and S. Jerome ' ; this latter
is a reproduction of the 'Assumption,' assigned to
Pizzolo, in the l^-emitani Chapel, Padua ; both are

107

A BIOGRAPHICAL DICTIONARY OF

in tempera. At the Casa Nievo, Vicenza, is an oil
painting of the ' Virgin and Child.' Other paintings
by this artist may be found at Santa Corona and
Santa Chiara, Vicenza, and in the Casa Piovcni,
Padua. In his later works it is difficult to dis-
tinguisli his hand from that of Montagna. It is
likely that the ' Madonna with the Child holding
a Strawberry ' in the National Gallery, and there
ascribed to Montagna, is by Speranza ; also No. 174,
in the Brera, at present unascribed. 'W.A.

SPERANZA, Giovanni Battista, bom at Rome
about the year 1610, was a disciple of Francesco
Albano. He acquired a considerable repute as a
painter of history, particularly in fresco. In a
chapel in the church of S. Caterina da Siena, there
are some subjects from the life of the Virgin, in
fresco, by him ; and in tlie Orfanelli a ceiling re-
presenting the Passion of our Saviour, in five com-
partments. Speranza died in the prime of life, in
1640.

SPERLING, HiERONYMUS, a German engraver,
born at Augsburg about the year 1695, was a pupil
of Preissler, at Nuremberg, and engraved some of
the plates for a work on the churches of Vienna,
published by J. A. Peffel, in 1724. He also en-
graved some of the plates from statues in the gallery
of King Augustus of Poland, at Dresden, which
were published as a collection in 1733. He en-
graved many portraits, chiefly after German painters,
and a set of ' Months of the Year,' with a frontis-
piece. He died in 1777.

SPERLING, JoHANN Christian, a painter of
portraits and small historical subjects, was born
at Halle, in Saxony, in 1691. He was the son of
Johann Heinbich Speuling, a painter of portraits
and fancy heads, who had moved from Hamburg
to Halle. Christian studied under his father, and
afterwards under Adriaan Van der WerfE, at Rotter-
dam, and adopted his manner of painting. There
is a ' Vertumnus and Pomona' by him in the Dresden
Gallery ; and many of his portraits of persons of
high rank exist in Germany. They are but little
kno%\Ti elsewhere. He died .it Ansbach in 1746.

SPERWER, Pieter, a Flemish painter of the
17th century, was born at Antwerp, where he prac-
tised, and where a few of his pictures are still to be
found. He is registered as a pupil in the records
of the Guild of St. Luke for 1675-76. In 1703 he
received from the States of Antwerp the sum of
ninety florins for a portrait of the King, to be
placed in the Hotel de Ville.

SPEY, Martin, a painter of portraits, flowers,
and dead game, was born at Antwerp in 1777. He
left hia native country for Paris in 1809, and re-
mained there till the entry of the allied army m
1814, after which all trace of him is lost.

SPEZZINI, Francesco, was a native of Genoa,
and flourished about the year 1578. He was first
a scholar of Luca Cambiasi, but he afterwards
studied under Giovanni Battista Castelli. He visited
Rome, where he studied Raphael, Michelangelo,
Giulio Romano, &c. On his return to Genoa, he
painted several pictures for the churches, particu-
larly an altar-piece for S. Colombano, which is per-
haps his best work. He died young, of the plague.

SPICER, , an English mezzotint engraver,

who flourished about the year 1770. He engraved
some portraits after Sir Joshua Reynolds, among
which are those of Barbara, Countess of Coventry ;
Kitty Fisher ; and Lady Stafford.

SPICER, Henry, painter in miniature and
enamel, bom at Reepham, in Norfolk, was a pupil

108

of Gervase Spencer. He was extensively employed,
and reached considerable excellence as an enamel
painter. He was a constant exhibitor with the In-
corporated Society and with the Royal Academy,
and was appointed portrait painter in enamel to the
Prince of Wales. In 1776 he visited Dublin, and
painted many Irish celebrities. He died in London
in 1804.

SPIEGL, Joseph, a mezzotint engraver, of whom
nothing is known, except that he was bom in 1772,
and received his artistic education in the Academy
at Vienna. Five prints by him are extant :

A Holy F-imily ; after Sassoferrato .
Mater Dolorosa ; nfter Guido.
Veuus and Cupid ; after N, Poussin.
Bacchus and Ariadne ; after Gavin Hamilton.
A Woman bathing ; after Uubens,

SPIELBERG, Adriana, (Spilberg,) the daughter
of Johannes Spielberg, was bom at Amsterdam in
1646, and instructed by her father. She excelled in
crayon portraits, though she occasionally practised
in oil. She married the painter Breckvelt, and,
after his death, Eglon Van der Neer.

SPIELBERG, Johannes, (or Spilberg,) bom at
Diisseldorf in 1619, was the son of a glass-painter
in the service of the Elector Palatine. It was his
father's intention to have sent him to Antwerp, to
the school of Rubens, but that painter's death put
an end to the project. So Spielberg went to Am-
sterdam, where he became a scholar of Govert
Flinck. He prosecuted his studies under that artist
for seven years, and on leaving his school, soon
won fame as a painter of history and portraits.
The reputation he acquired at Amsterdam led to
his being invited to the court of Diisseldorf, as
painter to the Elector Palatine. He painted the
portraits of the Electoral Family, and several his-
torical works for the churches. For the Schloss
he painted a series of ' Labours of Hercules.' He
was also commissioned to paint some scenes from
the ' Life of Christ,' which he did not live to accom-
plish. He died in 1690. His 'Banquet of the
Archers' Company,' in the Stadthaus at Amsterdam,
shows clearly the influence of Van der Heist. One
Gabriel Spielberg, who was painter to the court'
of Spain in the 17th century, is supposed to have
been his brother.

SPIERINC, Nicholas, a Flemish miniaturist of
the 15th century. He was working at Brussels in
1469 for the Duke of Burgundy.

SPIERINGS, Pieter, (or Spierinckx,) painter,,
bom at Antwerp in 1633. He has sometimes been-
mistakenly called Nicholas. He painted land-
scapes, into which other artists occasionally intro-
duced figures. Pieter Ykens in particular is said
to have frequently aided him in this manner. He
spent several years in Italy, and imitated the
works of Salvator Rosa. It has been said that
he died in England, but more recent researches
show him to have died in liis native town in 1711.
He and his wife, Maria de Jode, whose death took
place in 1714, were both buried in the Church of St
Jacques at Antwerp. He was the friend of Biset,
and was one of the painters of Louis XIV. At
Antwerp there are two large landscapes by him,
and two in the Madrid Museum.

SPIERRE, Claude, a French painter of the
17th century, and brother of Fr. Spierre, the en-
graver. He went to Rome to study, and gave
promise of a great career, which was cut short by
his earlv death.

SPIERRE, FRANgois, bom at Nancy in 1643.

PAINTERS AND ENGRAVERS.

went to Paris when very young, and became the
pupil of Francois de Poiliy, whose stj'le lie for
some time followed with success. He did not,
liowever, confine himself to the manner of his
master, but went to Italy, where he acquired a
distinctive style of his own. He did not long sur-
vive his return to his native country, but died in
1681. The following are, perhaps, his best prints :

Pope Innocent XI. ; engraved in the style of Mellan ;

Pranciscus Spier, del. et sculp.
The Grand Duke of Tuscany ; dated 1659.
Lorenzo, Count de Marsciano ; after his own design.
The Virgin suckling the Infant Christ ; after Corregyio.
St. Michael defeating Satan ; after F. da Cortona.
The Immaculate Conception ; after the same.
The Virgin and Infant Jesus, with St. Catharine ; after

the same.
The Circumcision ; after Ciro Ferri.
St. John preaching in the "Wilderness ; after Bernini.
The miracle of the Loaves and Fishes ; after the same.
Christ on a Cross suspended over a sea of blood, which

flows from His wounds ; after the same.

SPIERS, Albert van, was born at Amsterdam
in 1666, and was a scholar of Willem van Ingen,
an historical painter of some eminence. He had
already given proof of considerable talent in his
native country, when he determined to visit Rome.
After passing seven years there, he went to Venice
to improve his colour. After a residence in Italy
of ten years he returned to Holland in 1697, and
established himself at Amsterdam, where he was
largely employed in decoration. He had established
a great reputation when he fell a victim to over-
workj in 1718.

SPIESS, August Friedrich, engraver, was born
at Castell, in Franconia, in 1806. He began his
studies at the Munich Academy, under Amsler. His
first works were, ' The Transfiguration,' and a
' Holy Family,' after Raphael, and ' The Last
Supper,' after Leonardo da Vinci. He produced a
large number of historical and religious engravings,
a.'id many excellent crayon portraits. He died at
Munich in 1855.

SPIESS, Heinricu, historical painter, born at
Munich in 1831, was a pupil of the Academy under
Voltz from 1849 to 1856, and studied later under
Kaulbach. He was associated with Schwind in the
execution of the Wartburg frescoes, and jointly
with his brother, August Fr., he painted allegories
of the sciences in the Arcades of the Maximilia-
neain, at Munich. He died at Munich in 1875.

SPILIMBEKGO, Irene di, was born at Udine
about 1540. Although practising painting for her
amusement only, she applied herself to it with all
the zeal of a professor, and is said to have received
lessons from Titian. Lanzi mentions three pictures
from sacred history, by this lady, which were in his
time in the Casa llaniago at Venice. Titian is said
to have painted her portrait. She died in 1559.
^SPIL'MAN, Hendrik, was born at Amsterdam in
1721, and painted portraits and landscapes with some
success. He engraved a few plates, among which
are the following :

Henry Tilly ; after C. van Noarde.

His own Portrait ; after tlie same painter.

Several portraits forLangendijk's History of the Counts

of Holland.
Six small Views in Holland, on one sheet ; inscribed

Plaizante Landschapies, H. A'piiman, inv. tt sculp.
View of the Rokin, Amsterdam ; after J. de Beijer.

He also engraved three landscapes, in the style of
bistre drawings, after Everdingen, Van Borssum,
and Berchem. He died in Haarlem in 1784.

SPILNBERGER, Hans, (Spielberger,) painter
and etcher, was born at Kaschau, in Hungary, in
1628. He worked in Italy and Augsburg, and
afterwards settled in Vienna as court painter. He
was carried oil by the plague in 1679, while
travelling in Bohemia. His works include, 'St
Peter preaching on the Day of Pentecost,' in the
Kreuzkirche at Augsburg ; ' The Death of St.
Benedict,' in the church of S. Emeran at Ratisbon ;
and ' The Assumption of the Virgin,' in St. Stephen's,
Vienna. He also etched several plates.

SPILSBURY, F. B., an amateur painter and
draughtsman, was a surgeon in the navy, and
made many drawings of scenery and costumes seen
by him during his voyages. He served in the
Syrian campaign of 1796, and published a ' Pictur-
esque Scenery in the Holy Land and Syria,' and, in
1805, a book on the West Coast of Africa, illustrated
by himself.

SPILSBURY, John, an English engraver and
printseller, was boru in 1730. He scraped a great
many plates in mezzotint after Reynolds and others,
and many portraits after his own designs. In the
dot style he engraved a collection of gems, which
was published in numbers. About 1782 he was
drawing-master at Harrow School. He also kept a
print-shop in Russell Court, Covent Garden. He
died in 1795. Among his plates we may name :

Miss Pond, who rode lOCO miles in 1000 hours ; from his

own desii/u.
A set of fourteen Heads and Busts ; in the manner of

Rembrandt. 1767 and 176S.
George III. when Prince of AVales. 1759.
Queen Charlotte. 1764.

Christian VII., King of Denmark ; after Fesche. 1709.
Inigo Jones ; after I'nndych.

Lady Mary Leslie decorating a Lamb ; after Reynolds.
A young Lady with Flowers ; after the same.
Frederick Howard, Earl of Carlisle ; after the same.
A Boy eating Grapes ; after Rubens.
Two Monks reading ; after the same.
Abraham sending away Hagar ; after Rembrandt,
The Flight into Egypt ; after Murillo.
The Crucifixion ; after the same.

The name Inigo Spilsbury, which often occurs in
catalogues, seems to have been given to John, as
the engraver of Van Dyck"s ' Inigo Jones,' to dis-
tinguish him morereadilv from his brother Jonathan.

SPILSBURY, Jonathan, the brother of John
Sjiilsbury, exhibited portraits at the Eoyal Academy
from 1776 to 1807. Among them were those of
Charles Wesley, and of the Rev. J. Fletcher and
his wife.

SPILSBURY, Maria, painter and engraver, was
the daughter of John Spilsbury, and was born in
London iu 1777. She painted genre pictures, and
was most successful in the treatment of rural life
and of childhood. In 1807 she exhibited eight
pictures at the Royal Academy. Many of her best
works were engraved, one, 'A Shepherd's Family,'
by herself. She married a Mr. John Taylor, and
settled in Ireland, where she died.

SPINELLI, GAsrARRl,(PARRi,) painter of Arezzo,
born in 1387, was the son and pupil of Luca
Spinelli. He afterwards went into the school of
Ghiberti in Florence. The church of S. Domenico,
Arezzo, contains a ' Crucifixion,' with the Virgin and
figures of three saints on either side, by him, in
fiesco. The Gallery of Arezzo possesses three
frescoes taken from the church of Sta. Maria della
Misericordia of that city ; and the church of San
Francesco, a ' Last Supper,' which is now much
damaged by time. His portrait, painted by Marco

109

A BIOGRAPHIQAL DICTIONARY OF

da Moutepulciano, is still preserved in the cloisters
of S. Bernardo, in liis native city. He died in 1452.

SPINELLF, LucA, commonly called Spinello
AnETlN'O, wiis the son of Luca Spinelli, a Florentine
Ghibeline, who about 1310 had fled to Arezzo,
where the younger Luca was born in 1332. The
boy was apprenticed to Jacopo del Casentino, a
follower of Giotto, and before his twentieth year
was a better iirtist than his master. Very few of
his earlier works at Arezzo have been preserved.
About 1318 we find him at Florence, painting
frescoes in the choir of S. Maria Maggiore, in two
chapels of the Carmine, and in one at S. Triniti,
besides three altar-pieces for the churches of S.
Apostolo, S. Lucia di Bardi, and S. Groce. The
frescoes have all disappeared, but the panels re-
main. In 1361 he was recalled to Arezzo, where
he painted an altar-piece for the Abbey of the
Camaldoli in the Casentino, which was removed in
1539 to give place to one by Vasari, as well as
many other altar-pieces and frescoes, of which an
' Annunciation ' over the altar of S. Francesco, and
frescoes in different parts of the church, may still
be seen ; the bell-room contains frescoes illus-
trating the life of St. Michael the Archangel.
In 1384, when Arezzo was sacked, Spinello again
went to Florence, where he was engaged by
Don Jacopo dArezzo, Abbot of S. Miniato, and
General of the Congregation of Monte Oliveto,
to furnish an altar-piece for his church. The centre
panel of this work has disappeared ; but its two
wings, with the date 1385, and the names of Simone
Cini, the carver, and Gabriello Saracini the gilder,
inscribed on two members of the frame, are in
the possession of Mons. Ramboux, superintendent
of the Gal.ery at Cologne, while its gable and
predella are in the Gallery of Siena. He also
decorated the sacristy of San Miniato with frescoes
representing scenes from the life of St. Benedict.
Although very unskilfully restored, these still
exist, and are very Giotto-like in composition,
besides possessing that decorative brilliance of
colour wliic h is one of the characteristics of the
Siena school. His style, in fact, may be regarded
as a link between the scliool of Giotto and that of
Siena. In 1391-92 Spinello painted six frescoes,
which still remain on the south wall of the Pisan
Campo Santo, representing miracles of Sts. Potitus
and Ephesus. These finished, he again returned
to Florence, where in 1400 and 14Ul he painted
scenes from the lives of SS. Philip and James
for a chapel in Santa Croce, and an altar-piece
for the convent of Santa Feliciti, now in the
Accademia at Florence. It is in three compart-
ments, of which the centre, with the 'Coronation
of the Virgin,' is painted and signed by his
assistant and pupil, Lorenzo di Niccolo Gtrini ;
the figures of St. Peter, St. James, St. John,
and St. Benedict on its right were painted and
signed by Nicco!6 di Pietro, the father of Lo-
renzo ; and the fisures of St. John Baptist, St.
Matthew, and S. FelicitJi on its left were painted
and signed by Spinello himself. The whole bears
an inscription dated 1401. To about the same
period must be ascribed the famous fresco, for-
merly in S. Maria degli Angeli, at Arezzo, repre-
senting the ' Fall of the Rebel Angels.' The
church was destroyed in the last century, and
the only parts of Spinello's work which were
saved are now in the National Gallery. It is of
this last subject that Vasari states that Spinello
died through fright from a dream in which he

110

saw the devil, who demanded of him why ho
had painted him so frightful. But so far from
dying at this time, Spinello accepted a commission
to paint at Siena, where he and his son Gasparri
or Parri, went in 1404, and worked at the decora-
tion of the Duomo until 1405. He probably then
returned to Florence, where he decorated Dardan*
Accaiuoli's chapel in San Niccol6, as well as portions
of the church. In 1408 he and his son returned
to Siena, and decorated the Sala di Balia of the
Palazzo Pubblico with a series of sixteen frescoes,
illustrating the Venetian campaign against Frederic
Barbarossa, and giving prominence to the part
taken in it by Pope Alexander III. It is supposed
that he then retired to Arezzo, where he died in
1410, leaving two sons, Gasparri and Baldassare.
Forzore Spinelli, sometimes called Luca's son, was
his nephew.

Florence.

Gubbio.

London.

Siena.

Academy. Madonna aud Child with Saint* '

and Angels. 1391.
Jfarchese 1 A IJannerwitli the Flagellation,
liarghiacci.y and Mary Mngdalene.
A'ai. Uallery. St. John the Baptist, St. John,
and St. James the Great (?).
„ Michael and six Companions,

from the ' Fall of the Rebel
Angels,' formerly in S. Maria
degli Angeli, Arezzo.
„ Fragments from the border of

the same.
Academy. Death of the Virgin.

SPINNY, GuiLLAUME DE, a native of Brussels,
studied art in that city and in France. In 175S
he established himself at the Hague, where he
painted with some acceptance for many years. He
died in 1785.

SPIRINX, J., an indifferent engraver, who flour-
ished about the year 1635. He engraved some
frontispieces and other plates for books.

SPIRINX, L., probably a relation of J Spirinx,
engraved some frontispieces and other ornaments
for books, dated from 1641 to 1674. This artist has
left a few portraits, among them one of Pierre do
la Mothe, dated 1663. "

SPISANO, ViNCENzo, (called Lo Spisanelli,)
painter, born at Orta, in the Milanese, in 1495,
studied at Bologna, in the school of Denys Calvaert,
whose style he adopted, and followed without
deviation. His compositions are, however, less
judicious, and his design less correct. Of his
numerous works in the public buildings of Bologna,
the most remarkable are, the ' Death of S. Joseph,*"
in S. Maria Maggiore ; the ' Visitation of the
Virgin to S. Elizabeth,' in S. Giacomo Maggiore ;
the ' Baptism of Christ,' in S. Francesco ; and the
' Conversion of Paul,' in S. Domenico. His easel
pictures, most of which are in private collections
in Bologna and its neighbourhood, arc better than
his altar-pieces. He died in 1662.

SPLINTER, Gekrit, is quoted by Van Mander
as the master, at Utrecht, of Abraham Bloemaert.
The records of Utrecht show that early in the
16th century a family of painters of this name was
established in the city.

SPOEDE, Jean Jacques, a Flemish painter of
still-life, was born at Antwerp, probably in the
first years of the 18th century. He studied in the
Academy of his native city, and afterwards went
to Paris, where he became the friend and pupil of
Watteau. His name occurs in the catalogue of
the exhibitions held by the Paris Society of S. Luke,
of which he was professor and rector in 1751, 1752,

PAINTERS AND ENGRAVERa

and 1753. He died in 1760. There is a portrait
by bim in tlie Orleans Museum.

SPOFFORTH, RoDEBT, an English engraver
and printseller, who flourished about tlie year 1707
From his style Strutt thinks he was a pupil of
S. Gribelin. We have a few portraits by him,
among them the following :
Queen Anne. | George I. [ John Cole, M. D.

SPOLETI, Pier-Lorenzo, a Genoese, born in
1680, was a pupil of Domenico Piola the Elder,
and lived for a time at Ifadrid, where he had some
success ns a portrait painter. He died in 1726.

SPOLVERINI, HiLARio, born at Parma in 1657,
was a disciple of Francesco Monti. Although he
occasionally painted historical subjects, he was
better known for his battles, attacks of banditti,
and assassinations, which he designed with spirit,
and painted with a consistent vehemence. He
was much emploj-ed by Francesco, Duke of Parma.
There are some altar-pieces by nim at Parma, in
the cathedral and the Certosa. He died at Piacenza
in 1734.

SPOONER, Charles, was born in the county of
Wexford in the first half of the 18th century, and
apprenticed in Dublin to John Brooks. He came
to London on the invitation of McArdell. We have
several mezzotint portraits and other subjects by
him. dated from 17.52 to 1762, among which are the
following :

Thomas Prior ; nfter J. Van Xost. 1752.

Major-General Sir 'Williara Johnson ; after T. Adams.
1756.

Miss Gunning : after Cotes.

Miss Smith ; after the same.

Greorge Keppel, Earl of Albemarle ; after Beynolds.

Lady Selina Hastings ; after the same,

Garrick in the character of Lear ; after Houston.

"Woman with a Caudle in her hand ; after Schahken.

Peasants regaling ; after Teniers.

A set of four plates of Youthful Amusements; after
Jfercier.
He died in London in 1767, aged about fiftv.

SPOOR, W. J. L., a Flemish painter of the 18th
century, was bom at Budel, in North Brabant. He
was a scholar of Hendrik van Anthonissen, at Ant-
werp. In his early pictures he imitated the manner
of that painter; but afterwards became a copyist
of Paul Potter, and of other landscape and animal
painters of the Dutch school.

SPORCKMANS, Herbert, was bom at Antwerp
in 1619. He studied under Rubens ; received the
freedom of the Corporation of S. Luke in 1640,
and was dean in 1659. He died in 1690. There
is a picture by him in the Hotel de Ville, at
Antwerp.

SPRAXGHER, BARTnoLOMAUS, painter, born at
Antwerp in 1546, was the son of Joachim Sprangher,
an eminent merchant, who destined him for com-
mercial pursuits ; but betraying a decided inclina-
tion for painting, ho was placed under the tuition
of Jan Mandijn, at Haarlem, with wliom he studied
eighteen months, when, on the death of his in-
structor, he became a scholar of an amateur called
Van Dalem. He afterwards travelled through
France to Ital}-, and resided three years at Parma,
where he studied under Bernardino Gatti, called
II Sojaro, who had been a disciple of Correggio.
From Parma he went to Rome, where he was
engaged to decorate the Villa of Caprarola by
Cardinal Farnese. He was introduced by that
prelate to Pope Pius V., who appointed him his
painter, and gave him apartments in the Belvidere.
The first thing he did for the Pope was a ' Last

Judgment,' a composition of more than five hundred
figures, painted on a copper-plate six feet high,
which he finished with great care. He was also
commissioned by the Pope to paint twelve scenes
from the Passion of our Saviour. In 1575 Sprangher
was invited to the court of Vienna, by the Emperor
Maximilian II., who appointed him bis principal
painter. On the death of Maximilian, in 1576, he
remained in the service of Rudolph II., for whom
he was employed both at Vienna and at Prague.
Sprangher was greatly respected by the Emperor,
both for his abilities as a painter, and for his
literary acquirements, which were extensive, as
well as for his talents in conversation. In 1588
Rudolph ennobled him and his descendants. He
died at Prague about 1627. There is a curious
picture by Sprangher in the magazine of the
National Gallery ; the subject is ' Men devoured
by Dragons.' Other works :

Berlin. Museum. The Resurrection.

Copenhagen. Museum. The Death of Lucretia.
Vienna. Gallery. Portraits of himself and his

Wife.
„ „ The Virtues of Rudolph II., an

allegory.
And others at Stockholm^
Schleissheim, Darmstadt, and
Brunswick.

Spranger has left a few etchings, among which
the best is,
A Figure bound to a Tree, on which the initials E5.
are reversed.

SPRINGER, CoRXELis, Dutch painter and en-
graver ; born May 25, 1817, at Amsterdam ; studied
with Gaspard Karssen and chose the same ,i;enre
as that of his master, which was views of towns.
Some of his pictures were highl}' appreciated,
such as ' Hotel de Ville de Nim^gue,' ' La Maison
de Rembrandt,' ' La Ville de Z^lande,' and several
were exhibited at the Salons and the Paris Exhibi-
tions, notably at the 1867 Exhibition, to whicli he
sent his ' Vue de Munster.' He obtained several
decorations, including the Leopold Order, the
Hague gold medal of 1857, and others. He was a
member of the Rotterdam Academy, and died at
Hilversum, February 18, 1891.

SPRIXGINKLEE, Hans, is said to have resided
in the house of Albrecht Diirer, from whom he learnt
the principles of the art of design, and to have died
about 1540. He was formerly ranked among wood

engravers from the presence of his mark, /Sf\_

on several of the woodcuts in the ' Hortulus
animae cum horis beataj Virginis,' &c., printed at
Nuremberg in 1518, 1519, and 1520. All that can
be certainly afiirmed of bim, however, is that he
was the designer of those subjects, and that be was
contemporary with Albrecht Diirer. Neudorfer calls
him an illuminator, and Thausing believes liim to
have been the author of some of the borders in the
Prayer Book of Maximilian.

S PRONG K. See Vekspronck.

SPRONG, Gerard, born at Haarlem in 1600,
was a fair painter of portraits and interiors. He
died in 1651. There is a half-length portrait of a
lady by him in the Louvre.

SPROSSE, K,\BL, painter and etcher, bom at
Leipsic in 1819. He worked at the Art Academy
of Leipsic, under Fr. Brauer and Schnorr. About
1838 he was employed by Dr. Puttrich of Cologne.
In 1840 he went to Italy, where he painted several
views of the ruins of ancient Rome, from which

111

A BIOGRAPHICAL DICTIONARY OF

he afterwards etched twelve plates. In 1848 he
returned to Gormanj', but in 1849 was again in
Rome. In 1850, 1857, and 1860 he was painting
in Venice. He also visited Greece in search of
subjects. Besides his Italian series, he etched
many German castles, cathedrals, &c. He twice
exhibited in Londun. He died at Leipsic in 1874.

SPRUYT, Charles, son and pupil of Philip
Spruyt, was born at Brussels in 1769. After study-
ing in Italy, he settled in Brussels, where he painted
historical pictures, such as a ' S. Tlieresa,' ' The
Disciples at Emmaus,' 'John, Duke of Brabant,
rescuing his sister.' He died at Brussels in 1827.

SPRUYT, jAKon Philips, a native of Ghent,
where he fionrished about 1764. He worked for
a time at Delft and the Hague, but finally settled
in his native city.

SPRUYT, Philip Lambert Joseph, painter, was
born at Ghent in 1727. He received his first teach-
ing from Mild and Van Loo in Paris, and then from
Mengs in Rome. On his return to Belgium he
became Professor of Drawing at the Ghent Academy,
and by command of Maria Theresa made a cata-
logue of all the works of art in the Belgian
churches and convents, which he adorned with
etchinirs. He died at Ghent in 1801.

SPRY, William, an EiigUsh fiower-painter, who
practised in London, and exhibited at the Royal
Academy from 1834 to 1847.

SPYCK, Hendrik van. portrait painter, flourished
at the Hague about 1670. He was an artist of
some ability, and painted the portrait of Spinuza,
with who-^e opinions he sympathized.

SPYERS, James, a painter of views, practised
in London in the second part of the 18th century.
Various landscapes by him were engraved and
mezzotinted by Jukes and G. Wills.

SQUARCIONE,FRANCESCO,(SQnAR5ON,SQ0ARZON,

Squarzdn, or Squarzoxus,) is celebrated in the
tradition of ancient Italian art as the founder of the
Paduan school of painting, and as having initiated
among North Italian artists the study of ancient
Greco-Roman art. He is important above all
because he is said to have educated among his
hundred and thirty-seven pupils one of the greatest
painters of North Italy, his adopted son Andrea
Mantegna. Vasari, referring to Girolamo Campag-
nola, a contemporary scholar of Padua, and the
Paduan historiographer Bernardino Scardeone (' De
Antiquitate Urbis Patavii,'1560) relates that Squar-
cione, himself a very weak painter, used to instruct
Mantegna and his other pupils not by his own
examples but by means of casts and drawings after
antique statues and other works of art which he
had collected during his long journeys in Italy,
especially in Tuscany and Rome, and even in
Greece. S luarcione, who was therefore called the
father of painters, is said to have been very famous
in his time, and to have been honoured by the
acquaintaace of very conspicuous persons, such
as the Eni[ieror Frederick, St. Bernardino, the
Cardinal Mezzarota, and others.

From the study of the documents and of the
pictures attributed to him, however, we get quite a
different idea of his artistic importance. He was
born at Padua in 1394, the son of the notary
Giovanni Squarcione. In a deed of Dec. 29, 1423,
he is called a tailor and embroiderer (^sartor et
recamator), and it is not earlier than in 1439 that
we find him mentioned for the first time as a
painter. He must therefore have practised paint-
ing only in later years, especially if he had made

112

long journeys in distant countries. From 1441 to
1463 he is mentioned in the registers of the/ra<;Ha
(brotherhood or guild)of the Paduan painters, and in
the account-books of St. Antonio and of the cathe-
dral, as a painter and as providing certain drawings.
In 1463 he is declared to have removed to Venice,
and in 1465 he was exempted from all tuxes
because he had pledged himseif to draw and colour
a plan of the town and province of Padua for the
municipality. He died, according to Scardeone, at
Padua in 1474, at the nge of eighty.

Only two authentic works of Squarcione can still
be pointed out : an altar-piece in the Paduan
Museum which, according to the still-existing
contract, he executed in 1449 to 1452 fo.- the
Lazzara family, and a Madonna with Child, signed
with his name, bought by the Berlin Museum from
the same f nuily. The altar-piece consists of five
parts, in the centre of which St. Jerome is repre-
sented seated in a landscape, while the others con-
tain the figures of St. Anthony and Justina, John
the Baptist, and Lucia on a gold ground. It is a
very weak painting, quite in the style of the Viva-
rini, which could easily be taken for an early work
of Gregorio Schiavone, one of Squarcione's pupils.
The Berlin Madonna is not much better as a
painting, but it shows quite a different style, and
betraj-s a great superiority in the fresh naturalistic
motive of the composition, which is, however, obvi-
ously borrowed from Donatello. The Child, as if
frightened by something unaccustomed, with a
violent movement takes refuge in his mother's arms.

These weak pictures of quite an obsolete man-
ner — painted at a time when Mantegna had already
given the first imposing proof of his extraordinary
talent — do not enable us to believe that their author
should be regarded as the creator of a new style.
The great difference between the two paintings has
been universally remarked, and must suggest to us
the suspicion that both pictures may have been exe-
cuted, not by Squarcione himself, but by two of his
many assist mts. The follcwing facts and consider-
ations confirm the supposition that Squarcione,
recoguized even by his admirers as a feeble
painter, used to take the works of his pupils under
his own name, and he was not so much the artistic
as the business head of his workshop.

In 1443 the decoration of a chapel in the church
of the Eremitani at Padua was connnitted to
Squarcione, who, however, as we learn from docu-
ments and from the work itself, did not himself
execute the frescoes, but entrusted them to his
pupils, especially to the young Mantegna. We
know that as early as 1448, when Mantegna was
only seventeen years old, Squarcione made a con-
tract with him for common work, which after-
wards (1455) on Mantegna's demand was declared
by the court of justice null and void because he then
was still a minor, and because he had been deceived
in the contract. Mantegna meantime had with-
drawn himself from the dependence of Squarcione,
and entered in artistic and personal connection
with his master's rival, Jacopo Bellini, whose
daughter he married. For this he incurred the
enmity of his late master, who is said to have blamed
very violently Mantegna's work in the chapel of
the Eremitani. From an agreement between
Pietro Calzetta, one of Squarcione's pupils, and
Bernardo Lazzara in 1466 we learn that the draw-
ing of Squarcione which had to serve as the sketch
for Calzetta's painting was really not by the hand
of the master but of that of Niccol6 Pizzolo. one of

FRANCESCO SOUARCIONE

[Hiiiijslaiigl fiioto]

THE MADONNA AND CHILD

[Beilin Gatlety

PAINTERS AND ENGRAVERS.

his most talented assistants. Of a similar origin
may have been the drawings which Squarcione
delivered in 1462 to the Canozi di Lendinara for the
choir stalls of II Santo. Within the limits of
Squarcione's talents may have been works of the
character of the two plans of Padua, which he exe-
cuted for the government of Venice, and, as we have
seen, for the municipality of his native town. We
can conclude from all this that Squarcione, far from
being a creating and inspiring artist, was obliged
to maintain the credit of his workshop by abusing
the talents of his young assistants. Moreover,
nearly all important commissions for paintings at
Padua seem to have been in his time entrusted to
foreigners. Very eloquent also is the silence of the
most important and learned contemporary historian
of Padua, Michele Savonarola, who wrote in 1440, as
regards Squarcione, whom not once does he men-
tion as an artist. It would seem, therefore, that
S juarcione obtained his reputation as a painter and
a teacher only very late in life. The account of
his theoretical method of teaching his pupils by
models of antique statues — a method so contrary
to the practical and naturalistic sense of the
Quattrocento as conformable with the academical
epirit of the late Cinquecento — is evidently the
work of the historical reconstruction of Vasari and
of the local patriotism of Scardeone.

Squarcione may have been an art-loving and
learned man and a clever manager of artists. His
external position and his interest for antiquities
made him very properly to be accepted as the
educator of his adopted son and his precursor in
the scientific and archasological studies which
made Mantegna celebrated among learned men.
All observations received concur to show that
Mantegna got the great impulses for his develop-
ment not from Squarcione but from Donatello,
Jaoopo Bellini, and from his learned and anti- [
quarian friends, and that the Paduan school was not |
the foundation of Squarcione, but obtained its stamp
of mental and artistic independence from Andrea
ilantegna. See Crowe and Cavalcaselle, and
'Mintegna,' by Paul Kristeller. P. K.

SyUARCIONE, Zoppo di. See Zoppo, Marco.

SSOLNZEFF, Fedob Gbigorievitsch ; Russian
painter ; born April 14, 1801, at Jaroslaw ; becani'v
a pupil of the Petersburg Academy, and sub-
sequently travelled abroad for purposes of study.
He was commissioned by the Emperor Nicolas to
paint several historical pictures at Moscow, and in
1876 he was appointed Professor at the Academy
of St. Petersburg. He died there on March 5,
1892.

SSOTNOWSKI. See Screta.

STAAL, Pierre Gustave EugSnr, painter, was
bom at Vertus, Marne, in 1817. He entered the
£cole des Beaux .\rts in 1838, and was a pupil of
Paul Delaroche. He exhibited portraits, chiefly in
pastel, at the Salon from 1839 to 1872, and in 1865
eight etchings. He died at Ivry in 1882.

STABEN, Hendrik, born at Antwerp in 1578,
is said to have visited Venice when very young,
and to have entered the school of Tintoretto. He
could not have studied there long, however, for
Tintoretto died before Staben reached his seven-
teenth year. He does not appear to have remained
long in Italy, but established himself in Paris,
where he painted small interiors, with neatly-
drawn figures. He died in 1658.

STABLI, Adolk, German painter; born May 31,
1842, at Winterthur ; studied in Munich under A.

TOU V. I

Lier and much influenced by the Barbizon School ;
settled at Munich, where he worked at landscape,
some of his subjects being chosen from Swiss
scenery, as, for instance, ' After the Storm,' ' Parthie
an der Limmat,' ' Uberschwemmung bei Abend-
dammerung,' &c. He died at Munich, September
21 1901.

STACCOLI, Francesco, water-colour painter,
flourished in Rome at the end of the 18th century.
He was a pupil of A. Maron, and copied much
from the old masters. He died in 1815.

STACHOWICZ, Michael, painter, bom at Cracow
in 1768, was a pupil of Molitor. He painted pic-
tures for churches and afterwards battle pictures,
and other scenes from Polish history. In 1817 he
became Professor at the Lyceum of S. Barbara in
Cracow, where he died in 1835.

STACK, Josef Magnus, a Swedish painter, born
at Sund, in 1812. He studied at Stockholm and
Munich, completing his education by visits to
Paris and Italy. He died in 1868. The following
pictures by him are in the Stockholm Gallery:

A Sea View by Moonlight. 1847.

A View of Haarlem in ^V"inter. 1848.

Kiver Scene in Dalecarlia. 1856.

Italian Landscape. 1860.

STACKELBERG, Otto Magnus, Baron von,
antiquarian draughtsman, was bom at Revel in
1787. He studied first in Dresden, and finished his
education in Rome ; whence, in 1810, he went with
an exploring party to Greece. The result of their
researches was the discovery of the remains of the
Temple of Apollo at Bassae, which are now in the
British Museum, and of the .^ginetan marbles,
now in the Glyptothek at Munich. Of all these
Stackelberg made careful and exact drawings,
which he published in 1826. He also published a
series of views of modem Greece, drawings of
Greek costumes and customs, and a work on ancient
Greek sepulture. He travelled later in Italy, and
discovered some ancient Etruscan frescoes, to
which another book was devoted. He died at St.
Petersburg in 1837.

STACKHOUSE, J., an English painter of flowers
and fruit, who practised in London towards the
close of the 18th century.

STADING, Eveline, born at Stockholm in 1803,
was a pupil of Fahlcrantz. She travelled and worked
in Germany and Italy, but died young in 1829.

STADLER, Alois Martin, painter, bom at Imst,
in the Tyrol, in 1792, studied at Innsbruck and
Munich, and in Italy. In 1822 he settled in Munich,
and painted altar-pieces for different towns in the
Tyrol, among them an ' Assumption of the Virgin,'
for the parish church at Imst. He died at Sterzing
in 1841.

STADLER, Joseph Constantine, a German en-
graver, who worked from 1780 to 1812 in London,
and engraved views in aquatint. Among his best
plates are :

The Fire of I.onilon; after Loutherhcurg .

The Destruction of the Armada ; after the same.

The Picturesque Scenery of Great Britain ; sii plates ;

tffttr the same.
Views of London, Westminster, and Blackfriar.s Tridges;

after FaHnyton.
Many plates for Combes' * History of the Thames.'
A series of views of Schloss Hohenheim, AViirtemberg ;

engraved in conjunction with 2^'icolas and Victor

Heideloff.

STAEVAERTS. See Stevaebts.
STAFFORD, John Phillips, commenced his art
life as a scene painter under Matt Morgan, but even-

113

A BIOGRAPHICAL DICTIONARY OF

tually settled down to black-and-white work in con-
nection with comic journalism. He was a clever
draughtsman, and fur many years was cartoonist
to ' Funny Folks.' He also painted in oils, and
exhibited at the Royal Academy, ' A Race,' in
1877; 'Two Heads are not always better than
One,' in 1878 ; and ' St. Valentine's Day,' in 1886.
Stafford died in March 1899, at the early age of
forty-eight. JI. H.

STAGNON, Antoine Marie, draughtsman and
engraver, flourished in the second half of the 18th
century. He was engraver of seals to the King of
Sardinia. Among his works were forty-three plates
of Sardinian costumes, and two volumes of Sar-
dinian uniforms. He assisted St. Non with tlie
plates for his 'Voyage pittoresque d'ltalie.' In
the fifth edition of tliat work, Choffard's name was
substituted for his on two of the plates, Kos. 36
and 38, and Stagnon published an indignant pro-
test in ' Les Nouvelles de la R6publique des Lettres
et des Arts,' for May 1779, claiming their sole
authorship.

STAINIER, R., an English engraver, who prac-
tised in London towards the close of the 18th cen-
tury. He was chiefly engaged on portraits, but occa-
sionally engraved subject pictures, such as 'Lindor
ami Clara,' and ' Cleopatra,' both after Wheatley.

STALBEMT, Adriaan van, (Staelbent,) a
Flemish painter and engraver, was born at Antwerp
in 1580. He painted landscapes witli small figures,
in a style resembling that of Brueghel ; also in-
teriors with historical subjects. He practised for
a time at Middelburg, and visited England in the
reign of Charles I., and is noticed by Walpole
under the name of Stalband. He painted a ' View
of Greenwich,' and is said to have returned rich to
Antwerp. Vandyck painted a portrait of Stalbemt,
which was engraved by Pontius. Stalbemt has left
an etching representing the ruins of an English
Abbey, with cattle and sheep. It is signed. He
died at Putte, in Brabant, in 1662. Works :
Amsterdam. Jitjksmuseum. A Wooded Landscape.
Antwerp. Musetim. A Landscape.

Berlin. „ Adoration of the Shepherds.

Cassel. Galleri/. Landscape.

Copenhagen. „ A View of Antwerp.

Dresden. „ Olympic Games.

„ „ Judgment of Midas.

Frankfort. „ Consecration of a Church.

Madrid. Museum. David's Triumph over Go-

hath.

STAMM, JoHANN Gottlieb Sajtoel, was bom at
Meissen in 1767. He practised as a copyist at
Dresden, but also etched after Klengel, Dietrich,
and others. He died in 1828.

STAMPART, Frans, born at Antwerp in 1675,
was a scholar of the younger Tyssens, and a student
of Vandyck. He had acquired a reputation as a
portrait painter in his native city, when he was
invited to Vienna by the Emperor Leopold, who
appointed him his principal painter, in which ofiBce
he was confirmed by Charles VI. He died at
Vienna in 1750.

STANFIELD, George Claekson, son of William
Clarkson Stanfield, was born in London in 1828.
He was a pupil of his father, but was gifted with
very little talent. He exhibited, from 1844 to
1876, continental landscapes, marine subjects, and
views of towns. He died at Hampstead in 1878.

STANFIELD, William Clarkson, painter, was
born at Sunderland in 1793. His father, James
Stanfield, was an Irishman of a certain reputation
as a writer, and author of an ' Essay on Biography.'

114

William Stanfield began life as a sailor, and showed
an early taste for art, drawing and sketching ships
and marine views, and painting scenery for plays
performed on board ship. During one of his
voyages to Guinea he became acquainted with
Thomas Clarkson, and a warm friendship sprang
up between them, in token of which Stanfield
adopted the abolitionist's surname. Whilst serving
as a clerk in the navy, Stanfield's talent attracted
the notice of Captain Marryat, the novelist, who
was the first person to recommend him to art as a
profession. In 1816 he was temporarily disabled
by a fall on an anchor, and getting his discharge
in 1818, he made a fresh start as scene-painter at
the Old Royalty in Wellclose Square, a theatre
much frequented by sailors. His reputation grow-
ing steadily, he obtained engagements successively
at the Coburg Theatre, Her Majesty's, and Drury
Lane ; an early acquaintance with Douglas Jer-
rold proved of much service to him at this period
of his career. Whilst occupied with his profession
he at the same time painted a number of small sea-
pieces, and became known in Loudon as a pro-
mising marine painter. In 1824 lie was elected a
membei' of the Society of British Artists, with whom
he had exhibited the previous year. A large sea-
piece, painted in 1827, and exhibited at the British
Institution, ' Wreckers oft' Fort Rouge,' attracted
considerable attention. In 1829 he sent his first
picture to the Academy, a 'View near Chalon-sur-
Saone,' and encouraged by its favourable reception
and by a premium of fifty guineas from the British
Institution, he gave up scene-painting to devote
himself to easel pictures, and started on a conti-
nental tour, the fruits of which were shown in
pictures exhibited during the two following years :
' Venice,' ' Strasburg,' ' A Honflenr Fisherman,' &c.
A fine example of his art is the ' Mount St. Michael,
Cornwall,' which was exhibited in 1830 at the
Academy, and ensured his election, in 1832, as an
Associate. Three years later he rose to full
membership, and having resigned his connection
with the Society of British Artists, became a con-
stant exhibitor in Trafalgar Square up to the year
of his death, sending altogether 132 pictures to
the Academy exhibitions. In 1836 he completed a
large Battle of Trafalgar,' for the Senior United
Service Club, having previously been brought pro-
minently before the public by a commission from
William IV. to paint ' Portsmouth Harbour,' and
the ' Opening of New London Bridge.' To these
large spectacular works Stanfield's manner was
peculiarly adapted. In his easel pictures he could
never entirely free himself from the influences of
the theatre, and his best landscapes are marred by
a cold staginess of efliect and of treatmeni.
His pictures were greatly admired in their day,
but their reputation has waned, and is not likely
to revive. Among important works executed by
him on commission, we may mention a series of
large pictures painted for the Banqueting-room
at Bowood, and another seiies for Trentham
Hall. A visit to Italy in 1839 resulted in the
painting of a number of views of Italian scenery,
of which the 'Castello d'Ischia, from the Mole'
(1841), and ' Isola Bella, Maggiore ' (1842), are
notable examples. He also frequently treated
Dutch coast scenery, and published a series of
lithographic views of the Rhine, the Meuse, and
the Moselle, and a number of coast views in Heath's
'Annual.' His health gradually declined towards
the close of his life, but he continued to work with

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PAINTERS AND ENGRAVERS.

unabated industry, exhibiting at the Academy in
the year of his death, which took place at Hamp-
stead, May 18, 1867. He was buried in S. Mary's
Roman Catholic cemetery at Kensal Green. A
large number of his pictures were included in the
winter exhibition at Burlington House in 1870.
Among his other works Ave may name :
Lontlon. If at. Gal. Entrance to the Zuyder Zee,

Texel Island. (Ex. 1844.)
„ „ Battle of Trafalgar. {Sketch

for the large picture painted
for the Senior United Ser-
vice Club. Ex. 1836.)
,, ,, Lake of Como.

„ „ Canal of the Giudecca, and

Church of the Jesuits,
Venice. (1S36.)
S. Kensington. Museum. Xear Cologne. (1829.)

„ „ Market Boat on the Scheldt.

(Ex. 1826.)
„ „ Sands near Boulogne. (Ex.

1838.)
„ „ Town and Castle of Ischia.

Port-na-Spani.i, near the Giant's Causeway, Antrim,
with the Wreck of the Spanish Armada. (,)/rJ.
T/ncaitcs.)
The Abandoned. {Earl of Korthbrook.)
Capture of Smuggled GooJs. (Dugdale Collection.)
Tilbury Fort— Wind against Tide. {Tattersall Col-
lection. )
Battle of Roveredo. {Royal Holloway College, Eyham^

STANGE, Bernhard, painter, born at Dresden,
July 24, 1807. He was intended for the profession
of the law, and studied for a time at Leipsic Uni-
versity, but his admiration for Rottmann and Rahl
caused him to devote himself to art. His tirst
works were poetical landscapes, which had a great
popularity in his native country. His ' Morning
Bell,' in particular, had such success, that he re-
peated it twenty times. In 1849 he went to Venice,
where he began moonlight scenes, for which he
became famous. Later he painted many historical
and genre pictures. He died in 1880 at Sindelsdorf,
a village in the Bavarian Highlands to which he
had retired. There are several of his pictures in
the New Pinakothek, Munich, and one in the
possession of Queen Victoria.

STANLEY, Caleb Robert, landscape painter,
bom about 1790, studied in Italy and practised in
London. He painted in oil and water-colours,
and exhibited at the Academy from 1820 to 1863.
He died in London in 1868. There are three of
his landscapes in the South Kensington Museum.

STANLEY, Harold John, painter, was born at
Lincoln in 1817. He studied at Munich under
Kaulbach. In 1845 lie painted ' King Alfred Avith
his Code of Laws.' He afterwards travelled and
painted in Italy. For the ' Ludwig's Album' he
made a series of drawings illustrating 'Some
Years of an Artist's Life.' He died at Munich in
1867.

STANLEY, Montague, landscape painter, was
bom at Dundee in 1809. Losing his father when
young, he spent a wandering childhood with his
mother, visiting New York, Nova Scotia, and
Jamaica before he was ten years old. At the age
of eight he played the part of ' Ariel,' and up to
the year 1838 he followed the theatrical profession,
in which he obtained a considerable reputation.
From conscientious motives he quitted the stage
and devoted himself to art, receiving instruction
from J. W. Ewbank. He rapidly rose in public
estimation, and was elected an Associate of the
Scottish Academy. He died in the island of Bute
in 1844.

STANNAKD, Alfred, a brother of Joseph
Stannard, born at Norwich in 1806, where he died
in 1889. He was connected with the Norwich
School of Art, and liis landscapes represent local
scenery almost exclusively, the very few exceptions
being scenes painted in Holland. He was not as
important as his brother Joseph, but his work is
esteemed, and is marked by some poetic charm.
He died in 1R89.

STANNARD, Alfred George, the son of Alfred
Stannard, also a painter of landscapes, the date of
whose birth was about 1864, and who died in 1885.
He was trained by his father, and his works have
considerable charm, and by some critics are con-
sidered to exceed his father's in beauty.

STANNARD, Joseph, landscape and marine
iiuinter, was born in 1797 at Norwich, where he

j afterwards practised. He was a pupil of Robert

I Ladbrooke, and also studied for a time in Holland.

' He was a member of the Norwich Society of Artists.

: His works are chiefly coast and river scenes, with
some portraits. He also published a set of etcliings.

j lie died in 1830. His most important picture was
'ine of the annual 'Water Frolic' at Thorpe, in
which he introduced many portraits.

STANTON, Claek, born at Birmingham in 1832,
was educated there, and studied at the Birmingham
School of -Art. He early manifested a love of
drawing and modelling, and, although destined
for a business career, was allowed to follow his
bent, and obtained employment as designer and
modeller with the well-known firm of Elkington
and Co., who sent him to Italy to study. In 1855
he came to Edinburgh, and in 1857 began to
exhibit at the Royal Scottish Academy, sending
' The Ivy Wreath ' (a nude study) and some
medallion portraits. He did many illustrations
for the publishing firms of Nelson, Nimmo and
Ballantyne, and produced many designs for cups,
statuettes and plate for silversmiths. His work
attracted much attention, and he was elected an
Associate of the Royal Scottish Academy in 1862,
becoming a full Academician in 1883. In 1881
he was appointed Curator of the Academy's Life
School. His plastic work is marked by refinement
rather than strength, and in reliefs he especially
excelled. His oil and water-colour paintings,
although somewhat conventional in style, are well
drawn and pleasing in colour. His diploma work,
' Eurydice ' (a high relief in plaster), is in the
Scottish National Gallery, and in the Glasgow
Corporation Gallery hangs a water-colour ' Girl
with Fruit.' He died in 1894. J.H. W,L.

STANTON, Tho.mas, landscape painter, born
about the middle of the 18th century. He practised
in London, painting views in which he generally
introduced architecture. A 'View of Stonyhurst
College' by him was engraved by Middiman.

STANZIONI, Massimo, painter, born at Naples
in 1585, was a pupil of Giovanni Battista Carac-
ciolo, but received some instruction in fresco from
Belisario Corenzio. When Lanfranco visited
Naples, Stanzioni profited by his lessons, and also
by those of Fabrizio Santafede. He afterwards
visited Rome, where he applied himself to study
the works of Annibale Carracci, and formed an
intimacy with Guido. On his return to Naples
he displayed an ability that enabled him to
compete with the ablest of his contemporaries.
There existed between Stanzioni and Spagnoletto
a jealousy and animosity which led the latter into
the commission of a disgraceful piece of treachery.

115

A BIOGRAPHICAL DICTIONARY OF

Lanzi reports that Stanzioni had painted an altar-
piece at tiie Certosa representing the dead Christ
witii the Marys, in competition with Ribera's ' De-
position from the Cross.' Stanzioni's picture hav-
ing turned somewhat lower in tone, Spagnoletto
recommended the monks to permit him to clenn it,
when he made use of some spirit or acid by
which the beauty of the work was entirely de-
stroyed. The fathers applied to Stanzioni to repair
it, which he refused to do, declaring it should
remain as it was, that such perfidy might be
exposed. Among liis other works at Naples are
the ceilings of the churches of S. Paolo and del
Gesii Nuovo, his best frescoes, and a large ' S. Bruno
presenting the Regulations of his Order to his
Monks ' at the Certosa. He also painted many easel
pictures for private patrons at Naples. Stanzioni's
works are distinguished above those of his con-
temporaries by nobility of conception, simplicity
of feeling, and purity of line. He formed many
so.'iolars, among them Dom. Finoglia and Gius.
Marullo. He died in 1656. Other works :

Dresden. Gallery. A Genius.

Naples. .V. Martino. Last Supper.

„ „ Legend of S. Bruno.

„ Trinitlldei relleyrini. S. Emidio.

„ Pal. Cassaro. Cleopatra.

Paris. Ij>uvre. S. Sebastian.

Vienna. Liechtenstein Gal. Virgin and Child.

STAPLEAUX, Michel Guislain, painter, born
at Brussels in 1799. He was a pupil of David.
He painted historical and genre pictures, and por-
traits. He painted a 'Napoleon at St. Helena,' and
portraits of other members of the Bonaparte family.
His ' Prodigal Son ' is at Prague. Several pic-
tures by him are in the collection of the King of
Wurtemberg and Prince Peter of Oldenburg. He
died in 1881.

STAR. See Stella.

STAR, DiRCK VAN, (Staken,) a Dutch engraver,
who flourished in the middle of the 16th century.
He is sometimes called a little master, although
not one of the seven men more strictly associated
with the title. His drawing of the figure is good,
with well-marked extremities. His prints are dated
from 1520 to 1550. He usually marked them with
the initials D. and V. divided by a star, to which

he generally added the date, thus :

//SUU j

The following are among the best of ins very
numerous plates :

1. Eve and the little Cain, 1522, J. G. (Auqusti) If).

2. The Deluge ; 1544.

3. Christ calling Peter and Andrew, 1523, Mey 30.

4. St. Peter walking on the Water. 1525, Des. 30.

5. Christ tempted by the Demon, 15:73.

6. Christ and the Woman of Samaria. 1523.

7. The Virgin and S. Aune, 1522, I>. C. (Decemlir.s) 31.

8. St. Bernard, 1524, Oct. 3.

9. St. Luke painting the Virgin, 1526. /" Jtili. 28.

10. St. Elisabeth, 1524, Xove. 15.

11. Venus, 1524, Oct. 20.

12. The Faun, 1522, ^ept. 14.

13. Man wit!; a chimerical Fish, 1522, A. G. 16.

14. The Goldsmith, no date.

15. The Man Asleep, 1532, Oct. 10.

16. The Drunken Drummer, 1525, J/ert. 8.
IT. The Drummer and a Child, 1523, Oct. 14.
IS. The Man holding a Shield of arms, 1522.

19. The Woman holding an Escutcheon ; lozenge; 1525.

20. St. Christopher.

21. A wood-cut of an Interior, with a Gallery, and
numerous Figures. The mark near the middle,
1526 on the left.

116

Whether the initials D. V. with a starling between
them, and the letters D. V. separated by an asterisk
in the upper part, belong to this engraver or not,
is a matter of dispute.

STAREN, Dirk van, engraver, flourished circa
1520-1550, believed to have come from the neigh-
bourhood of Kampen. He signs with D. V. and
a star (hence called Master of the Star), and his
plates nearly all bear the date and day of the
month when they were completed. His device is
met with also on woodcuts and in stained glass.

STARK, James, landscape painter, was bom at
Norwich, November 19th, 1794. He was the son
of one Michael Stark, a Scotchman, who had settled
at Norwich, where he had a dye-works. James
studied under Crome for three years, and then went
to London, wliere he entered the Royal Academy
in 1817. His first work was ' Boys Bathing.'
After a time a painful affliction compelled him to
return to Norwich, where he had to abandon paint-
ing entirely for some three years. As he became
stronger in health, he began to take part energetic-
ally in the exhibitions of the Norwich Society of
Artists, to which he had been elected as early as
1812. He was also a frequent exhibitor at the
Academy and at the British Institution, where, in
1818, he had won a premium of £50. In 1821 he
married Elizabeth Dinmore, and moved to Yar-
mouth for a time. He soon returned, liowever, to
the cathedral city, and there, in 1827, he began
the publication of his ' Scenery of the Rivers Yare,
Waveney, and Bure.' Shortly afterwards he
migrated to London, moving on, in 1839, to
Windsor, where he lived and painted for ten years.
Returning for the last time to London in 1849, he
died there, in Mornington Place, Regent's Park, on
March 24th, 1859. A collection of his pictures
was shown at Norwich in 1887. Stark's reputation
has suffered from the frequent ascription of his
better pictures to Crome, and from the attribution
to him of inferior works of the Norwich school.
The following examples of his art are in English
public collections :

Edinburgh. Xat. Gal. Gowbarrow Park.
Ijondon. „ The Valley of the Yare (per-

haps hh ntasterpiect:).
„ <S'. Kensington. Landscape — Woody Lane uear

Hastings.
,. ,, Distant View of Windsor.

{And others in ciyculat'Oit.)
Sheffield. Majipin Gal. Laudscape with Cattle.

His son Arthur is a landscape and animal painter.

STARK, Joseph, born at Graz in 1782, first
studied theology, and then law, and afterwards
painting at tlie Vienna Academy. In 1817 he
became director of the Academy at Graz. In 1826
he travelled in Italy, and produced several portraits
and historical pictures. He etched several plates
after his own pictures, among them a ' Christ in the
House of Martha and Mary,' which is in the
Academy at Venice. He died at Graz in 1838.

STARNINA, Ghebabdo, painter, born at Florence
in 1354 (?), was a disciple of Antonio Veneziano.
He is entered on the lists of the Painters' Guild, in
1387, as Gherardo d'Jacopo Stama. He painted
history in the stifl' style which prevailed at the early
period at which he lived. Vasari reports that he
was invited to the court of Spain, where he painted
some pictures for the king, for which he was
well paid. Among the few works of his at
Florence which have escaped the ravages of time,
is a ' Dying St. Jerome delivering his doctrines to

IT}
If)

PAINTERS AND ENGRAVEES.

his disciples,' in the church of S. Croce. Some
scenes from the life of the Virgin, ia a chapel of the
cathedral at Prato, are partly attributed to Stamina.
He is supposed to have been the master of Masolino
da Panicale. He died at Florence in 1403?

STARREXBERG, Johann, was born at Gron-
ingen, and flourished from the year 1650 to 1670.
He painted historical subjects, and frescoed
ceilings.

STATTLER, Albert Cornel, painter, was born
at Cracow in 1800. He was a pupil of Larapi, but
went in 1817 to Rome, where he studied at the
.•icademy of St. Luke, and came under the influence
of Overbeck. He painted historical subjects and
portraits and died at Rome in 1870.

STAUFFER, Karl, Swiss painter and engraver ;
born tft;ptember 2, 1857, at Triibschaohen ; studied
engrairing witCi Raab and Hahu in Munich, and
afterwards in Berlin. At first he worked at oil-
p^iinting, but exchanged this lor engraving, in
whicli he bid fair to reach a high level of excel-
lence. Of his plates we may mention his ' Portrait
of his Mother,' portraits of Adolf Menzel, Gustav
Freytag, Kiihn, Keller, and others. His best
wjrk can be studiei! in the Dresden and Berlin
Coller^tions. He died at Florence, January 25,
1S91.

STAYEREN, Johan Adeiaensz van, flourishei'.
about 1000, and if not a pupil, was a close imitator
of Gerard Dou. His favourite subject was a hermit
contemplating a skull, reading a book, or at hi;i
devotions before a crucitis. As the scene is
generally the entrance of a grotto in a wild locality,
he introduces the trunk of an old tree coverel
with ivy or moss. His execution is as elaborate
as that of Gerard Dou, but his handling is not so
clear and fluent. Works :
Amsterdam. E. Museum.

Copjuhagen.
Paris.

Gallery.
Louvre,

An Old Man Praying.

A Hermit.

The Schoolmaster.

Woman Sewing.

A Savant in his Study.

Dutch writers mention three other artists of this
name, Padl, Jacob, and E. ; Paul and E. are also
said to have been pupils of Gerard Dou ; Jacob was
a painter of fruit and flowers ; they all lived from
about 1660 to 1700. Laborde mentions a mezzotint
of a Man counting Money, signed P. Straverenus-

STAYLER, Alen, illumined the choir books
for the Abbey of St. Alban's, in the reign of
Henry III.

STAYNER, J., an English engraver, worked in
London towards the close of the 18th century.
Two line plates by him, after Collet, are known,
and a few mezzotints.

STECH, Andreas, a painter of Dantzic of the
17th century, painted for the churches of Dantzic,
Oliva, and l^epplin. In the Dantzic cathedral there
is a 'S. Rosa' by him. He made drawings for
books on botany and astronomy, and several por-
traits by him have been engraved. He died in
1697.

STEELE, Edward, nicknamed 'Count Steele,'
was bom at Egremont, in Cumberland, about 1720.
He studied in Paris, and imder an obscure painter
called Wright. He practised at Kendal and York,
whence he made tours in the northern counties,
painting portraits at a few guineas apiece. Sterne
was among his sitters. In 1766 he ran away with
a young lady who was his pupil, in which exploit
he was assisted by George Romney, who was at
that time his scholar. The date of his death is

unknown, but in 1759 his collection of pictures,
prints, and drawings was sold by auction. He is
said, however, to have been living in Ireland, with
his wife, after that date.

STEELL, GoDRLAY, son of John Steell, a well-
known wood-carver, and younger l^-other of the
sculptor Sir John Steell, R.S.A., was born at Edin-
burgh in 1819. He was educated there, and received
his art-training in the School of the Board of
Manufacturers, and also under Robert Scott Lauder.
He began to exhibit at the Royal Scottish Academy
at the age of thirteen. In 1835 he showed a model
of a bloodhound, and thenceforward exhibited
regularly. He was a great lover of animals, studied
their every pose and movement, and drew them
with admirable fidelity and vigour, so as often to
be called the Scottish Landseer. He did a good
deal of book illustration in his early years and
modelled animals with skill, many of his designs
being reproduced in silver by Edinburgh silver-
smiths. He was for some years a successful teacher
of modelling, in succession to his father, at the
Watt Institute at Edinburgh. He rapidly attained
eminence, and was much in request to paint aninuU
portraits, and also for decorative works on a large
scale in oil, charcoal, and tempera. His charcoal
drawings have much merit. From 1835 till his
death he exhibited regularly at the Royal Scottish
Academy, of which he became an Associate in
1846, and an Academician in 1859. Between 1865
and 1880 he also sent ten pictures to the Royal
Academy in London. For many years he was
animal painter to the Highland and Agricultural
Society, and, in 1873, on the death of Sir E. Land-
seer, was appointed animal painter to the Queen
for Scotland, and much of his work is in the Royal
Collections. In 1882 he was elected Curator of
the National Gallery of Scotland. Among his
best pictures are: 'A Cottage Bedside in Osborne'
(which was engraved and became exceedingly
popular), ' Llewellyn and Gelert,' of which the
Queen commissioned a replica ; ' The Highland
Riiid,' ' Robbie Burns and the Field Mouse,' 'Spring
in the Highlands,' 'A Challenge,' 'The Pass of
Leny ; Cattle going to Falkirk Tryst,' and ' The
Trysting Place' (in Glasgow Corporation Gallery).
He died at Edinburgh on January 31, 1894. M, H.
STEEN, Jan, was born at Leyden about 1626.
His father was a brewer of respectable family,
and probably sufficiently rich. He displayed an
early talent for art, and was sent to study in the
lirst place under Nicholas Knupfer, a German painter
of historical subjects settled at Utrecht ; and from
him transferred to the studio of Jan van Goyen
at the Hague. Later on he came under the
influence of Adriaen van Ostade, at Haarlem —
that is evident in his principal works. While he
made his studies under Jan van Goyen, of the
Hague, he married in 1649 his daughter Margaretta,
by whom he had four, if not five, children. The
details of his life are obscure. That he worked
hard is proved by the number of pictures (more
than 500) he has left. That he was improvident
is proved by the records of executions for debt
which have been discovered at Haarlem by Mr.
Van Willingen, and that his pictures sold at low
prices is clear from a contract he made to pay the
year's rent of his house for 1666-67 with three
[lortraits "painted as well as he was able," the
amount of the rent being onl}' twenty-nine florins.
Jan Steen was entered in the Painters' Guild at
Leyden in 1G48, but from 1649 till 1G54 he was at

117

A BIOGRAPHICAL DICTIONARY OF

the Hague. From 1654 till 1661 he resided again
at Leyden, and from 1661 till 1669 at Haarlem.
In that year he returned to take possession of his
inheritance. In 1672 he opened a tavern in the
city at the Lange Brug (Long Bridge). Many of
his pictures had been painted in the interval, a
great part of which he may have spent at the
Hague. In 1673 he married a second wife, Marie
van Egmont, widow of Nicolas Herculens. A son
was bom in 1674 ; and five years later Jan Steen
himself died, and was buried in the parish church
of St. Peter, at Leyden, February 3, 1679, leaving
the house he had inherited from his father to hi>
widow and children.

A very large proportion of the works of Jan
Steen are in English private collections. The
annexed list is mainly restricted to pictures in
public Galleries :

Amsterdam. R. Museum.

Antwerp. Miiseum.

Berlin. Gallery.

Brussels.

Museum.

Copenhagen. Gallery,

Dresden.

Gallery.

Dublin. Nat. Gallery.
Edinburgh. Nat. Gall.
Glasgow. Gallery.

Hague. Museum.

London Nat. Gallery.
„ Bridijewater Gall.

„ Buckingham Pal.
,, »»

»» "

»» »»

Munich. Pinacothek.

Petersburg. Hermitage.

»» »»

Portrait of Himself.
Priusjesdag. (F^tc of the Prince

of Orange.)
The Feast of St. Nicholas.
The Parrot'" Cage.
A Village Wedding.
The Merry Home-coming.
The Quack Doctor.
Do.; another version.
The Baker Oostwaard with his

Wife and the Painter's Son.
The Libertine.
The ScuUery-maid.
The Danciug Lesson.
The Happy Family.
The Sick Lady.
After the Carouse.
A Couple Drinking.
The Sauvegarde of the Devil.
The Journey to Emmaus.
Samson mocked by the Philis-

tiues.
A Village Wedding.
Garden of an Inn.
Men Quarrelling at Cards.
A Merry Company.
The Ivheturicians.
The Operation.
Twelfth Night.
The Gallant Offer.
The Miser surprised by Death.
David returning with the Head

of Goliath.
The Marriage at Cana.
A Woman feeding a Child.
The Expulsion of Hagar.
A ViUage School.
The Sick Lady.
The Painter and his Family.
The Doctor's Visit.
Human Life. (Jan Steen's Ale-
house?)
The Painter and his Family.
A Doctor feeling the pulse of a

Young Woman.
The Dentist.
The Menagerie.
The Fete de Village.
The Mu.sie Master.
Man seUiug Fish at a House

Door.
A School of Boys and Girls.
Card-playing.
Kermesse.
Lady Dressing.
Interior of an Ale-house.

And others.
Quarrel in a Tavern.
Doctor's Visit.
Esther before Ahasuerus.
Doctor's Visit.
F^te Champetre.

Petersburg. Hermitage. The Drinkers.

„ „ ' The Sick Man.

„ „ The Tric-trac Players.

„ „ Village Wedding.

„ „ Tavern Scene.

Rotterdam. Museum. The Pretended Operation.
„ The Feast of St. Nicholas.

Vienna. Gallery. A Village Wedding.

„ „ ' The Prodigal Household.

A Wedding Party ; and several others. (Duke of Wel-
lington.)
Doctor with Lady; and other pictures. {Marquis of

Lansdowne.) W. M.

STEEN, Jan, (of ALirMAAB,)an obscure Dutch
painter of the 18th century, who painted historical
and genre pictures.
STEENREI. See Stenree.
STEENWIJCK, Hendrik van, (Steinwtck,)
the elder, born at Steenwijck in 1650, was a scholar
of Jan Vredeman de Vries, an artist of reputation
as a painter of perspectives and architectural views.
Steenwijck painted similar subjects, in which he not
only surpassed his instructor, but in his own way
has scarcely been equalled by any one who has
succeeded him. His pictures represent the interiors,
usually Gothic, of churches and other buildings.
He was fond of painting torchlight, with which, by
judicious chiaroscuro, he won extremely picturesque
effects. His pictures are usually supplied with
figures by the Franckens and others. He worked
at Antwerp in 1577, but in 1679 went with Lucas
and Martin Valckeuborcht to Germany, and after-
wards settled in Frankfort. Pieter Neefs was
among his pupils. He died about 1604. The
following are among his better pictures :

Amsterdam. K. Musatm.
Brussels. Museum.

London. Nat. Gallery.
„ Bridgetnater Gal.

,, Mrs. Joseph.

\'ieuna. Gallery.

Interior of a Catholic Church.

Interior of St. Peter's Church
at Lou vain.

luterior of an Ante-room.

Interior of a Church by Torch-
light.

Interior of a Church.

Interior of a Gothic Church.

Dungeon Interior. (The De-
liverance of St. Peter, dated
1604. Sis last known work.)

STEENWIJCK, Hendeik van, (Steinwtce.)
the younger, the son of Hendrik Steenwijck, born
at Amsterdam, or perhaps Frankfort, about 1680,
was insti'ucted by his father. His pictures are
similar in subject to those of the elder Steenwijck,
but are usually on a larger scale. He lived in
intimacy with Vandyck, who painted a line por-
trait of him, of wliicli we have a print by Pontius.
He was recommended by Vandyck to the notice
of Charles I., who, about 1629, invited him to
England, where he resided several years. In the
Whitehall catalogue ten of the principal works of
Steenwijck are to be found. The pictures he painted
before coming to Englaud have figures by Jan
Brueghel, Theodore van Thulden, and others,
while he himself occasionally painted architectural
backgrounds to Vandyck's portraits. He died in
London in 1648. His widow, SnsANNA, settled in
Amsterdam, and became known as a painter of
views, whUe his son Nicholas entered the ser^•ice
of Charles I., and is believed to have died in
England. The younger Steenwijck's works are
often confounded with those of his father. The
following are good examples :

Berlin. Museum. The Prison (dated 1640).

Copenhagen. Gallery. Interior of a Gothic Church.
Dresden. Gallery. Three Church Interiors, dated

respectivelv 1609. 1611, 1614

—J

"to

PAINTERS AND ENGRAVERS.

Florence. Vffizi. Interior of a Prison, with Be-

heading of St. John Baptist.

The Hague. Museum. A Public Square, with Monu-
ments and figures.

London. BridueKater ) Interior of a Church at Aut-
Gallery. j werp (figures by Van Thul-
den).

Madrid. Gallerv- Christ brought before the High

Priest.
„ The Denial of Pet«r.

Paris. Louvre. Chri.'^t in the House of Martha

and Mary. (The figures at-
tributed to Poelenburgh.)
,, „ Interior of a Church.

Vienna. Gallery. Two Church Interiors ; and

Two Dungeon Interiors with
Deliverance of St. Peter.

STEENWIJCK,HERMAN,sonofEvert,a8pectacle
maker, was a pupil of David Bailly at Leiden ; in
1644 he became a member of the Guild of St. Luke
8t Delft. In 1654 he ■n-as in the East Indies, but
was back at Delft in 1655, and was still livin.'
there in 1658. He painted still-life. W. H. J. W.

STEENWIJCK, Nicholas, born at Breda in
1640, excelled in painting vases, musical instru-
ments, books, and other inanimate objects, and fish.
He died in 1698.

STEENWIJCK, Peter, brother of Herman, also
learnt his art under David Bailly at Leiden ; was
admitted into the Guild of St. Luke at Delfl on
November 10, 1642. In 1654 he was settled at
the Hague. He also painted still-life.

Authority: Bredius, in 'Oud Holland,' VIII.,

1890. W. H. J. \\.

STE EVENS, Richard. See Steve.n's.

STEFANESCHI, Giovanni Battista, bom at
Konta, near Florence, in 1582, was a monk, and
is generally called I'Eremita di Monte Senario.
He was instructed by Andrea Comodi, by Ligozzi.
and by Pietro da Cortona, and chiefly excelled in
copying, in miniature, the w-orks of other painters,
in which he was much employed by Ferdinand II.,
Grand Duke of Tuscany. He died in 1659.

STEFANI, Benedetto, a publisher and engraver,
and native of Verona, who flourished about 1576,
and whose name is affixed to a print in the style
of iEnea Vice, copied from Marc Antonio's Battle
of the Lapithse.

STEFANI, PiETBO Degli. See Degli Stefani.

STEFANI, ToMMASo Degli. See Degli Stefani.

STEFANI DA FOSSANO, Ambbogio, called also
Borgognone, Ambbogio da Fossano, and, by Lanzi,
Ambrogio Egogni, was born probably between
14.50 and 1460. His birthplace is usually said to
have been Fossano, in Piedmont, hut he seems
rather to have been born in Milan, for his father.
Stefano, was already called ' Mediolanensis,' or a
native of Milan. As for his name of Borgbgnone,
some writers, notably M. Rio, believe it to have
been given in consequence of Flemish character-
istics in his art, others, among them the commend-
atore Morelli, think it due merely to some ancestor,
his father or grandfather, having lived for a time-
in Flanders, which was then called Borgogna by
the Italians. Ambrogio's life is so little known
that Lanzi divided him into three different indi-
viduals, giving to each one class of his works.
His master was, in all probability, Vincenzo Foppa,
to whom some critics would add Zenale and Butti-
none. His earliest known works date from about
1488. They were painted for the Pavian Certosa,
where Ambrogio was at work for some years. The
stalls and other wood-work in the choir were
6nished by Bartolommeo de' Polli from design>

fumishea Dy Borgognone about the year 1490.
The latter returned to Milan in 1494, in which
year he was at work at San Safiro. In 1497 he
was at Lodi, painting in the church of the Incoro-
nata. In 1508 he received a commission for an
altar-piece in San Satiro, Bergamo, which is still
extant. In 1512, as documents prove, he was
back at Milan. In 1524 he painted some scenes
from the legend of St. Sisinius in the portico of
San Simpliciano, Milan, which have now dis-
appeared, and he may have died very soon after.
The date 1535, which, it was said, was upon an
■ Assumption ' that has now disappeared from the
church of Cremeno, in Valsassina, is so much later
than any other record we possess of Ambrogio's
existence, that we may put it aside, especially as
the authenticity of the picture itself w-as doubtful.
In Borgognone's latest works, traces of Leonardo's
influence are visible, but otherwise he may be
called the incarnation of the early Milanese spirit
in art. He was to the Lombard school what Peru-
gino was to the Dmbrian, Francia to the Bolognese,
or Bellini to the Venetian. He had a younger
brother, Bernardino, who often acted as his
assistant. ^'-A-

WORKS :

Bergamo.

San Spirito.

Berlin.

Lochis-Carrara
Gallet-y.
Museum.

»j

»*

Lodi.

Incoronata.

Loadoa.

Kat. Gal.

Milan.

Com Barromeo.

San Satiro.

San Simphciano.

Santa Maria delta

Passione.

Sant' Ambrogio.

»>

Paris.

Sanf Eustoryio.
S. Maria Presso
San Celso.
Louvre.

Pnvia.

Certosa.

Presentation in the Temple,
Annunciation, and Epi-
phany.

Madonna Enthroned,

Five predeLia panels.
) Virgin giving friiits to the
J infant Christ.

Madonna Enthroned.

Madonna Enthroned with
Saints (.signed amhrosij
beryognoiii op').

Four small predella panels
in oil.

Marriage of St. Catherine
of Alesanilria.

Two groups of family por-
traits.

A Triptych (Virgin and
Child ; Agony in the
Garden ; Christ bearing
His Cross).

Portrait of Bishop Andrea
Novelli.

Frescues.

Coronation of the Virgin.

J Ceiling of the Sacristy.

Christ disputing with the
Doctors.

Christ after His Kesurrec-
tion.

Bladonna with Saints.
> Virgin adoring, with
J Angels.

Presentation in the Temple.

St. Peter of Verona and
a kneehng "Woman.

St . Ambrose, wit h other
Saints.

St. Sims, with other Saints.

St. Augustine (a fragment
on panel).

The Four EvangeUsts (at-
tached to an altar-piece
by Macrino d'Alba).

St. Peter and St. Paul (in
the new sacristy).

Madonna, with SS. Sebas-
tian and Roch.

Virgin adoring.

Ecce Homo.

Virgin giWug the breast to
£he Child.

119

A BIOGRAPHICAL DICTIONAKY OF

Pavia. Certosa. The Crucifixion. (And many

more.)
„ Aeeademia. Christ carrying His Cross,

with a suite of Cart'mi-
sians.

STEFANO, ToMJiASO di, painter, called II Giot-
TINO, from his imitation of the manner of Giotto,
is said to have been the son and pupil of Stefano,
called Fra Fiorentino, (see Fiorentino,) and to
have been born at Florence about 1.S24, where he
died in 1356. A 'Piet4' in the church of San
Krmigio at Florence is attributed to him, and cer-
tain frescoes at AssisL See also GioniNO.

STEFANO DA FERRARA. See Ferrara.

STEFANO DA PONTE VECCHIO. See Fioren-
tino.

STEFANO DA VERONA, and STEFANO da
ZEVIO. A difference of opinion exists as to
whether the above are one and the same, or an
older and a younger painter. The existence of
Stefano da Zevio (Zevio is near Verona) is well
authenticated. He was a contemporary and fol-
lower, and perhaps a scholar, of Vittore Pisano,
and was burn in 1393. He was by profession a
miniaturist, and was the grandfather of Girolamo
dai Libri. A distinctire mark of his pictures is the
frequent introduction of a peacock. To him Messrs.
Crowe and Cavaloaselle assign all the paintings
under the name of Stefano in Verona, and the two
panels at Rome and Milan, given in the list below.
Vasari, however, mentions one Stefano da Verona,
a pupil of Agnolo Gaddi, and certain Veronese
critics have contended that under this master the
school of Verona rose to a fair level of excellence
as early as the 14th century. They divide the
frescoes attributed to Stefano into two classes,
those of the 14th and those of the 15th century,
giving the former to the master whom they claim
as the founder of their school.

WORKS :

lUasi, near ( Parish Church. Parts of a fresco, repre-
Veroua. J seating the Virgin and

Child and Saints. (Thi^.
wall-painting is cited by
some as a proof of the
existence of the elder
Stefano.)
Mi 1ft" Brera. Adoration of the Kings

(signed Stefanus piuxit,
and dated 1435, ascribed
in the catalogue to Ste-
fano Fiorentino).
Home. Palazzo Colonna. Virgin and Child (ascribed

to Grentile da Fabriauo).
Verona. Strada di Porta 1 Fragments of a Virgin and

Vescovo. f Child, with St. Chris-
topher and Seraphs. (Ou
the front of a house.)
„ Sant' Eufemia. A Trinity, and Glory of

St. Augustine.
„ „ St. Nicholas with Saints,

and a predella.
„ Gallery. Madonna,

„ „ Madonna with St. Cather-

ine. (Both ascribed to
Pisanello.)
And other frescoes at San Zeno, Sant' Antonio, and
San Niccolo in Verona. See * History of Painting in
North Italy,* Crowe and Cavalcaselle.

STEFANO DA ZEVIO. See preceding article.

STEFANO de' FEDELI, one of the painters
who worked in the Castello of Milan in the reign
of Galeazzo Maria Sforza, liis frescoes in one of the
chapels there being valued by Vincenzo Foppa
and other painters. In 1478 he undertook work

120

for Ambrogio Grifo, the Court Physician and Pro-
thonotary Apostolic, and his name appears as a
member of the Painters' Guild at Milan in 1481.
His brother Matted was also a painter, but no
works by either of these artists are known.

STEFANO DI GIOVANNI, called Sassetta.
It was in the year 1392 that Stefano di Giovanni,
called Sassetta, first saw the light. The earliest
notice that exists bearing upon his artistic career
is of the year 1427. In that year the operai
of the Duomo of Siena set about finishing the iong-
jiiojected font of San Giovanni. Jacopo della
Quercia, who is generally credited with having
been the author of the original design of the font,
was away at Bologna, where he had been for more
than two years. The old design, made about the
year 1416, must have been incomplete, or have
required modification in some way ; for in Jacopo's
protracted absence the authorities commissioned
Stefano di Giovanni to make a design for the
completioH of the font. There was nothing strange
or unusual in the course that they took in apply-
ing to a painter for such a drawing. In those
days Art was regarded as one, and an artist
expressed himself in many different mediums.
At Siena itself, Lippo Meinmi had supplied the
design for the completion of the Mangia Tower,
a work originally planned by two of the greatest
architects of their age. It is impossible to say
how much the font owes to Sassetta ; but that
some details of it are of his invention cannot be
doubted. For, after this, the only design of which
any record exists, had been furnished, the work
upon it was actively recommenced. Between the
years 14.30 and 1432 Stefano made an altar-piece for
the chapel of S. Bunifazio in the Siena Cathedral
at the order of the Lady Ludovica, wife of the dis-
tinguished knight Turino di Matteo, sometime
operaio of the Duomo. After he had executed
this commission, Sassetta, in the year 1433,
painted a crucifix for the church of S. Martino,
of which some fragments are to be seen in the
Saracini Collection. Three years later he finished
one of his most esquisitelj'-wrouglit works, the
' Madonna and Saints ' in the church of the Osser- ,
vanza, near Siena. In the following year, in 1437,
occurred the most memorable event of his career.
On September 3 of that year he signed an
agreement to execute an altar-piece for the church
of S. Francesco at Borgo San Sepolcro. The artist
engaged to execute a large ancona, iiainted on both
sides with '-histories" and figures. It was to be the
work of the artist's own hand, and was to be made
as beautiful as the art of the painter could make
it. The altar-piece was to be completed in four
years. It was not, however, until 1444 that the
artist received the final payment for it. The exact
form of the ancona cannot at present be determined.
It was removed from its place above the high
altar of S. Francesco in the year 1762, but until
the year 1810 it remained in the choir of the Con- |
vent church. It was then sold to the Cav. Sergiu-
liani di Arezzo. In the year 1823 several portions j
of the altar-piece, including a large panel repre-
senting ' St. Francis in Glory,' and a ' Madonna and
Child %vith Angels,' were in the possession of the
Priore Antonio Angehicci at Montecontieri, near ,
Asciano. The ' Jla^'donna and Child ' is missing, I
but eleven fragments of the ancona have been
identified. The largest panel, the 'St. Francis
in Glory,' is in the possession of Mr. Berenson.
Six smaller panels, representing scenes from the

AWBROGIO STEFANO DA FOSSANO

CALLED

BORGOGNONE

Hanfstiingl j-lioio] ^National Gallery

MARRIAGE OF ST. CATHERINE OF ALEXANDRIA

PAINTERS AND ENGRAVERS.

life of St. Francis, are in the Chalandon Collection.
One painting of the same series is in the Collec-
tion of the Comte de Martel, and another, the
' Mystical Marriage of St. Francis,' the most beauti-
ful of all the remaining portions of the altar-piece,
is at Cliantilly. The central panel formerly bore
the inscription :—CKISTOFORUS FRANCISCI
SR FEI E ANDREAS JOHANNIS TANIS
OPERARIUS A M. CCCCXXXXIIII.

In the years that intervened between the sign-
in-' of the contract for this ancona and its comple-
tion, Sassetta probably visited Umbria, and painted
the 'Madonna and Saints' in the Cathedral at
Cortona. In the closing decade of his life Stefano
was frequently employed upon public works in
his native city. He painted some banners for the
Duomo. He also designed the borders of some
vestments for the Cathedral church, a task for
which he was admirably fitted, as his figure of St.
Ambrose, in the Osservanza altar-piece, proves.
For the hospital of S. Maria della Scala he painted
a portrait of one of tht; greatest of Sieneso Saints,
S. Bernardino, whose fiery eloquence he had doubt-
less often listened to in the Piazza del Campo ;
and for the Government of the day he made certain
little pictures, of a similar character, perhaps, to
the tai-olette of the Biccherna still preserved
in the Archivio at Siena. Finally, on May 3,
1447, he was commissioned to complete the de-
coration, in fresco, of the great Roman Gate, a
work which Taddeo di Bartolo had begun thirty
years before. It was whilst he was engaged upon
this task that he received his death-blow. 'The
work was well advanced towards completion,
when, on some bleak winter day in 1450, the
artist, painting on his high platform, was " stabbed
through and through by the sharp sou'-wester,"
"percoeso dal vento marino." He died in great
poverty, after a long and painful illness, at the
close of that year.

Saesetta occupies an important place in the
history of Sienese painting. After the age of the
great masters, the age of Duccio, of Simone Mar-
tini and the Lorenzetti, there had subvened, owing
to social and economic causes, a period of decad-
ence. In the hands of artists like Bartolo di
Fredi and Paolo di Giovanni Fei, the tradition
graduallv degenerated, until in Andrea Vanni it
reached its nadir. The works of Taddeo di Bar-
tolo reveal, here and there, evidences of new life.
But the most influential leader of the revival of
Sienese painting in the first half of the Quattro-
cento was S issetta. This artist was undoubtedly
influenced by his immediate predecessors, and
especially by Bartolo di Fredi and Paolo di Gio-
vanni Fei. His debt to Fei, however, has been
much exaggerated. Sassetta's true masters were
tLe artists of the golden age of the School of Siena.
His works are full of reminiscences of Duccio, of
Simone Martini, and of Ambrogio Lorenzetti. In
hig Asciano 'Nativity' he adopts a design of
Pietro Lorenzetti, borrowing, as I have said else-
where, some details from Bartolo di Fredi (Siena
Gallery, No. 99). In his 'St. Francis receiving
the Stigmata,' one of the portions of the Borgo
San Sepolcro altar-piece, he closely follows Duc-
cio's representation of the same subject in the
triptych in the Royal Collection. In his ' St
Francis before Honorius III..' in the Chalandon
Collection, he appropriates the design of Ambrogio
Lorenzetti's ' St. Louis of Toulouse before Pope
Boniface,' whilst in his 8. Pietro Ovile ' An-

nimciation ' he reveals liiniself as a close imitator
of Simone Martini. In other works of his too he
manifests his admiration for Sinmne. Nor did he
only adopt some of Simone's designs and types :
he strove to revive Simone's decorative ideal. In
his fineness of technique, in his grace of line, in
the cold, virginal beauty of his femnle types, in
tlie transparency of his flesh tints, in his love of
gurgeous vestments richly bordered and heavy
with gold, and in various details of style, such
as the delicately-modelled hands he paints, with
their long, ^'raceful fingers, we can trace the in-
fluence upon him of the greatest of Sienese
masters. The ideal of tlie Sienese School, the
iileal of Simone, which had become debased in
the dreary period of art that followed upon the
Black Death and the commercial eclipse of Siena
— that ideal the present writer described long
ago — in a single phrase — as an ideal of hieratic
sumptuousness.

It is only ■within the last two or three years that
connoisseurs and historians of art have begun to do
justice to Sassetta ; and even now, characteristic
as is his style, he is but imperfectly understood,
even by those who have helped to make him
kno^vn. Some of his most charming works, such
as his ' Mystical Marriage of St. Francis,' and his
' Miracle of the Sacrament,' have been attributed.
in recently-published works, to his follower
Sano. His 'Annunciation' has been ascribed by
some critics to Andrea Vanni, and the frag-
ments of the crucifix he made for the church of
S. Martino to his follower Vecchietta. And yet
Sassetta's peculiarities are not difficult to define.
In his pictures we find a wonderful brilliancy and
purity of colour. Especially characteristic is his
manner of painting flesh : his faces and hands
are most delicately modelled, and the flesh tints
are transparent and subtly graduated. His heads
are broad and round. The women that he paints
have tall, lithe forms, with high waists, small but
well-formed breasts, and long, straight arms. The
eyebrow is much arched : the ej'elids are heavy,
the iris of the eye is well-defined, and even
prominent. The mouth is small and full, and
there is a pronounced dimple under the lower lip.
The ear is rather large and long, and is placed far
back ; but it is frequently covered, and when un-
covered has little that is peculiar or characteristic.
In the case of personages represented standing the
right knee is often flexed, and shows itself under-
neath the robe. In many figures three broad,
heavy folds hang from the centre of the waist in
front. Above all, in his pictures there is a re-
markable fineness of quality such as cannot be
found even in the smaller works of the best of his
Sienese contemporaries, Vecchietta and Giovanni
di Paolo. Amongst the more important works of
Sassetta are the following :

Asciano. CoUegiataJJ | Nativity.

Barnard Castle Bowes } ^ jji^^^j^ „f ^^^ Sacrament.

Museum, j _
Chantilly. ' " '

Chinsdino.

The Mystical Marriage of St.

Francis.
Madouna and Saints, with

Predella.
Madonna and Saints.

Cortona.
Cour-Chevemy. CM—.

Uaude Beaumont U^. p^^^^^;^ ^^j ^^^ y^^^^ ^f
(Lo,re etcher) the y ^

Comte de MarteCs I
Collection^

121

A BIOGRAPHICAL DICTIONARY OF

Florence. Mr. Beren- \

son's Collection. ( Saints.
Paris. M. CAa/nndon's j Six Scenes from the Life of

Collection, j St. Francis.
Pienza. Museo. Madonna and Child and Saints;

a Triptych.
Siena. Gallery. No. 167 : The Last Supper.

„ „ No. 16S: The Four Patron

■ Saints of Siena.
„ „ No. 169: St. Jerome, St.

Gregory, St. Ambrose, and
St. Augustine.
„ No. 177 : Madonna and Child

and Saints : a Triptych.
„ No. 32o : Madonna and Cliild.

„ Palazzo Saracini. No. 933: Adoratiou of the

Magi.
„ „ No. 1275 : Madonna and

Saints ; a Triptych.
^ „ Nos.1256 and 1273 : Fragmeuts

of a Crucifix, the Virgin, St.
John the Evangelist, and St.
Martin and the Beggar.
„ 5. Pietro Ovile. Annunciation.
,, Porta Romana. Coronation of the Virgin (in

j}art).
„(near). Church o/) Madonna, St. Ambrose, and
the Osservanza.] St. Jerome. R. L. D.

STEFANO Di LAPO. See Lapo.

STEFANO FIORENTINO. See Fiobentino.

STEFANO, Fr. di. See Francesco di Stefano.

STEFANO D'ANTONIO DI VANNI, a Floren-
tine painter of the 15th century. None of hi.s works
survive. He is said to have worked in conjunction
with Bicci di Lorenzo on pictures for San Marco
and the Camaldolese church. In 1468 he was paint-
ing in the hospital of San Matteo, and in 1472 lie
painted the marble mausoleum of Temmo Balducci,
its founder, of which Francesco di Simone Ferrucci
was the sculptor.

STEFANO SANT' ANNA, an obscure Sicilian
painter, of the early 16th century. In the churcL
of San Dionisio at Messina there is an altar-piece of
the patron saint enthroned, inscribed : Stephanus
S" Anna 1519.

STEFANONE, Maestro, painter, born at Naples
about the year 1325, was a pupil of Maestro Simone,
and a fellow- scholar of Gennaro di Cola. In con-
junction with the latter, he painted some frescoes
in the church of S.Giovanni da Carbonara.at Naples.
In S. Maria della Piet^ he painted a Virgin M.^ry
and the Magdalene weeping over the dead Clirist,
which is still well preserved. A curious ' Genealogy
of Christ' over the entrance to the chapel of San
Lorenzo, in the Diiomo at Naples, has been con-
jecturally ascribed to him, also a Magdalene and
S. Dominic, in San Domenico Maggiore. He died
about 1390.

STEFAN ONI, Giacomo Antonio, a native of
Bologna, who flourished about the year 1630. He
is said to have been both painter and engTaver.
We have, among others, the following etchings by
him:

The Virgin with the infant Christ, St. John, and two
Angels ; after Lod. Cnrracci.

The Holy Family, with St. John ; after An. Carracci.
163J.

Another Holy Family, with St. John presenting cherries ;
after the same.

The Virgin and infant Christ, with St. John ; after
Agostitio Carracci.

The Murder of the Inuncents ; after Guido Heni.

The Martyrdom of St. Ursula ; after L. Pasinelli.

STEFANONI, Pietro, an Italian engraver, born
at Vicenza about 1600, who has left a set of forty
etchings, from the designs of the Carracci, intended

122

for use as a drawing-book. He marked his plates
with the initials P. S. F.

STEFFECK, Karl Konstantin Hi inrich, Ger-
man painter ; born April 4, 1818, at Berlin ; a pupil
of the Berlin Academy and also of Kriiger and
Begas ; he also studied with Delaroche in Paris,
and from 1840 to 1842 worked in Rome. In 1859
he was appointed professor, and in 1880 became
Director of the Konigsberg Academy. He painted
historical aiid genre subjects, besides animals ; his
'Spielende Hunde' is in the Berlin National
Gallery, and his lithographs and etchings all show
his skill in portraying animal life. He was a
member of the Berlin and Vienna Academies, and
obtained a Paris third-class medal in 1855 as well
as the Legion of Honour. He died at Konigsberg,
June 10, 1890.

STEFFELAER, Cornelis, painter and engraver,
was born at Amsterdam in 1797. He was a pupil
of Kobell, and painted landscape. He died at
Haarlem in 1861.

STEIDL, Martin Melchior, painter, born at
Innsbruck in the 17th century, studied under Joh.
Andr. Wolf in Munich, and painted pictures in
fresco and in oil. His ' Draught of Fishes ' is in
the Dominican church at Eichstadt. He died in
1720.

STEIFENSAND, Xaver, engraver, was born at
Caster, near Cologne, in 1809, and received his
first lessons from Gotzenberger and Cauer at Bonn.
He then became a student of the Diisseldorf
Academy, where he studied till 1833. His first
plate was from a copy of Raphael's St. Catharine,
by Desnoyers, after which he went to Darmstadt,
and worked under Felsing. In 1835 he returned
to Diisseldorf, engraved ' Shepherd and Shep-
herdess ' after Bendemann, and several plates from
drawings by Kaulbach, Schrbdter, and Stiike for
editions de luxe of Schiller and Goethe. He was a
member and professor of the Berlin Academy. He
died at Diisseldorf in 1876. Among his other
works we may name :

A Madonna ; after Overbeck.
Frederick II. ; after J. F. Schrader.
Portrait of Lacordaire ; after Chauvin.
Portrait of Pius IX.
The Child Jesus ; after £. Deiicr.

The Nativity, Visitation, and Ave Maria; after Mintrop.
* Regina Ca?H ' ; afte'c K. MiilUr.
The Adoratiwn of the Magi ; after P. Veronese.
Plates after Kethel's designs for Eotteck's ' Welt-
geschichte.*

STEIN, Theodor Friedrich, a painter of the 18th
century, a native of Hamburg, who painted por-
traits in crayons. He died at Liibeck in 1788.

STEINBRUCK, Eduard, born at Magdeburg,
May 3, 1802. He was intended for commerce,
and in 1817 was sent to Bremen to learn business.
There he remained until 1822, when, being called
to Berlin for his term of military service, he re-
solved to embrace art as a profession, and took
the opportunity of attending Wach's newly-opened
atelier. In 1829 he went for a short time to Dussci-
dorf, and later to Rome. It was not until 184C
that he finally settled in Berlin. He had mean-
time become well known as a painter with much
poetic feeling, and in 1841 had been elected
member of the Berlin Academy. He now received
many commissions, and became very popular, both
in his native countrj' and in America. He became
professor at the Berlin Academy in 1854, but in
1876 retired to Landeck in Silesia, where he died

PAINTERS AND ENGRAVERS.

February 3, 1882. The following are among his
more important works :

Berlin. i^"l^^ Gal. The Fairy Voyage, from

Tieck's ' Marchen.'
„ „ Children Bathing.

f, New Museum. Medallions for the Ceiling.

„ Chajiel of the Schloss. The Resurrection, &c.
„ Catholic Church of }A.AoTat\on of the Shep-

St. Hedtcig. j herds.
,, Chapel of the Catholic ) , ,.

Hospital. j Altar-piece.

Magdeburg. Church of ^St. | ^t^.pje^^

Sans Souci. Friedenskirche. Christ on Olivet.

,1 „ Madonna and Child.

„ „ Genevieve.

STEIXER. Eduard, painter, bom at Wintertlnir
in 1811, studied at Munich under the influence of
Cornelius, but made his reputation as a portraitist,
chiefly in pastel. He also made many landscape
drawings in pen-and-ink. He died in 1860.

STELNER, EMANnuL, p.iinter, was bom at Win-
terthur in 1778. He painted landscapes in oil and
water-colour, and afterwards flower pictures in
water-colour. He etched several plates. He died
in 1831.

STEINER, JoHANN KoNRAD, painter, born at
Wintenhur in 1757, studied in Geneva and Dresden.
He afterwards went to Paris, and then travelled in
Italy, where he drew much after Claude Lorraine.
On his return home he devoted himself to Swiss
landscapes in oil and water-colour, and etched a
few plates. In 1796 he paid a second visit to
Italy. He died in 1818. His wife Anna Barbara
Steker w.ns .ilso a painter.

STEINER, Johann Nepomuk, painter, born at
I^lan in Moravia in 1725, after gaining a reputa-
tion as a portrait painter, went to Italy, where
lie was influenced by Mengs. On his return he
painted altar-pieces in Iglau and the neighbour-
hood. In 1755 he became court painter at Vienna,
and painted some excellent portraits, among them
those of Maria Theresa and Joseph II. He died in
1792.

STEIXER. Kasfar, ]iainter, born at Winterthur
in 1734, was first manager in a silk warehouse at
Bergamo, and then took to painting portraits,
which are warm in colour, but careless in execu-
tion. He afterwards devoted himself to landscapes,
and died at Bergnmo in 1812.

STEINFELD, Fra.vz, painter, bom at Vienna
in 1787, worked first as a sculptor at the Vienna
Academy, and then took to landscape painting, in
which, though self-taught, he displayed such talent
that he was appointed painter to the court. In
1846 he became professor at the Academy in
Vienna, and led his pupils to study nature and
Bnysdael. In the Vienna Gallery he has a 'View
of Heligoland," The Deserted Mill,' and 'Dawn.'
He also executed some etchings and lithographs.
He died at Pisek, in Bohemia, in 1868.

STEINFELD, Wilhelm, son and pupil of Franz
Steinfeld, bom at Vienna in 1816, was also a painter
of landscapes. There is a mountain scene by him
in the Gallery at Vienna. He died at Ischl in
1854.

STEINFDBTH, Hermann, who was bom at
Hamburg in 1824, studied first with E. Sohn in
Diisseldorf, and then in the Academy of that city ;
and subsequently visited Italy. He afterwards
resided for some time in Diisseldorf, and won him-
self a name as an historic painter. He also made
a series of pencil drawings in illustration of the

Prometheus of iEschylus, and painted portraits
He died in his native city in 1880. Pictures :

The Entombment 1S44.

The Education of Jupiter. 1846. {Cotoyne Museum.)
Hylas carried away by the Nymphs. 1847.
The Resurrection." (In St. Sicholas, Hamburg.)
„ „ {In St. Peter's, Hamburgh

STEINHAUSER, Pacline, nee Frank, was the
wife of the architect Karl Steinhauser, and a painter
of historical pictures. Her 'Esther before Aha-
snerus ' is in the Schloss Bellevue, at Berlin. She
died in 1866.

STEINHEIL, Lonis Charles AtiGnsTE, painter,
was bom at Strasburg, June 26, 1814, He studied
under Ducaisne and David d' Angers, and tirst
became known as a painter of portraits and flower-
pieces. Later he produced a number of romantic
subjects, treated in imitation of the early German
masters. Upon his mural and glass paintings,
however, his reputation chiefly rests. He ex-
hibited frequently at the Salon from 1836 onwards,
and was several times premiated. He was the
brother-in-law of Meissonier, and his son and
pupil, Adolphe Charles, is a young painter of
repute in Paris. Steinheil died in 1885. The
following are good examples of his works:
Amiens. Cathedral. Several figures of Saints.

Dijon. Museum. Cartoons for the * Marriage

of the Virgin.'
Dunkirk. Church of S. Eloi. A window painted with

the ' Jlarriage of the

Virgin.'
Limoges. Cathedral. Various pictures.

Nantes. Museum. The Mother.

Several wall-paintings and windows in the Saint«
Chapelle in Paris, and a ' St. George and the Dragon '
in the Chapel of St. George. Notre Dame.

STEINKOPF, GoTTLOB Fkiedrich von, painter,
born at Stiittgart in 1779, was the son and pupil of
Johann Friedrich Steinkopf. He went to Vienna in
1799, where he transferred his attention from en-
graving to painting. From 1807-14 he was in Rome,
and, under the influence of Koch, Schick, and
Overbeck, painted ideal historical pictures. From
1814-21 he was in Vienna, and went thence to
Stiittgart. In 1829 he was teacher at the Stuttgart
Art School, in 1833 professor, and in 1845 head of
the school. His ' Cleobis and Biton ' is in the
King of Wiirtemberg's collection, his ' Elysian
Fields ' in the Stuttgart Gallery, He died at
Stiittgart in 1861,

STEINKOPF, Jouann Friedrich, painter, _wa8
hom at Oppenheim in 1737, and went in 1755 as
painter to the porcelain works at Ludwigsburg, in
Wiirtemberg. He afterwards painted animal pic-
tures in the style of Roos and Wouwerman, became
in 1786 teacher of drawing at the Gj'mnasium at
Stiittgart, and in 1801 court painter. He died at
Stiittgart in 1825.

STEINLA, MoRiTZ, engraver, whose real name
was MCller, which he chan.i,'ed for that of Steinla
as more distinctive, was horn at Steinla near Hilde-
sheim in 1791. He received his first training at
the Dresden Academy, and showing remarkable
promise, was sent by the King of Saxony to
Florence and to Milan, where he studied succes-
sively under Morghen and Longhi. His first im-
portant plate was after Titian's 'Tribute Money,'
and was published in 1829. It was followed by a
'Pieti' after Fra Bftrtolommeo (1830), 'The Mur-
der of the Innocents' after Raphael (1836), the
'Madonna della Misericordia ' after Fra Barto-

123

A BIOGRAPHICAL DICTIONARY OF

lommeo (1838), and in 1841 and 1848 respectively
by plates from the two gems of tlie Dresden
Gallery, Holbein's ' Madonna ' and Raphael's ' Ma-
donna di San Sisto.' For the former he was
a>varded a gold medal in Paris. His last important
work was a plate after Raphael's 'Madonna del
Pesce,' which he executed at Madrid in 1851. On
his returning to settle in Dresden he was appointed
Professor of Engraving at the Academy. He died
at Dresden, September 21, 1858.

STEINLE, JoHANN Eduard, painter, bom at
Vienna, July 2, 1810, was the son of an engraver.
He was at first placed with an engraver named
Kiainger in Vienna, studying m the Academy at
the same time. Finding that his real inclinations
lay towards oil painting, he entered tlie atelier of
Leopold Kupelwieser, who hud lately returned from
Rome, and under him became an ardent supporter
of the lately-founded neo-German school of re-
ligious art. In 1828 he set out for Rome with
introductions to the chiefs of the movement. Over-
beck and Ph. V'eit, by whom he was warmly re-
ceived, and under their influence his art training
was completed. He remained at Rome till 1834,
when he returned to Vienna, and made a short
stay in Frankfort. He was soon occupied with
important works, one of the first being a com-
mission from Herr von Bethmann-HoUweg to
decorate the Castle chapel at Rheineck with frescoes
illustrating the Beatitudes. In 1838 he spent
some months in Munich, studying the technique
of fresco painting under Cornelius, and shortly
afterwards settled at Frankfort, where in 1850 he
accepted a professorship at the Stadel Institute.
Steinle was a member of the Academies of Berlin,
Munich, Hanau, and Vienna, and received a gold
medal at the Paris Exhibition of 1854. In 1876
he undertook a series of decorative paintings for
Strasburg Cathedral, and one of his latest com-
missions was a ' cycle ' of religious and historic
subjects for the cathedral at Mayence. In the
Berlin National Gallery are the cartoons for his
' Last Judgment,' and a scene from ' As You Like
It.' In the Leipsic Museum are the Cartoons for
the Church of St. jEgidius at Munster, and be-
longing to Princess Marie Lichtenstein those for
the chapel at Heubach-sur-Meiu.
Virgin and Child. {Bridyewater Gallery^)
Groups of Augels. (Cologne Catliedral. )
The Judgment of Solomon. 1S4S. (Kaisersaal, Frank-

fo't.)
St. Peter's Sermon. {Kiga.)

Paintings in the * iEgidienkirche at Munster. 1857.
Frescoes in the "Wallraf Museum at Cologne, and in the

• Marieiikirche ' .it Ai.x-la-Cliapelle. 1860—1866.
Decoration of the Luwenstein Chapel at Heubach. 1867.

STEINMULLER, Joseph, born at Vienna in
1795, received his first instruction at the Academy
of that city under Maurer, and began in 1818 as an
engraver of portrait.s. His principal plates are the
three which follow ; they were engraved for the
Austrian Art Union :

The Madonna in the Meadow ; after Raphael.

The Virgin and Child ; after Leonardo da Vinci.

A Madonna and Child, and two Saints ; after Perugino.

Steinmiiller also engraved several plates for the
' Vienna Gallery.' He died in 1841.

STELLA. See Stern, Ignaz.

STELLA. A family of French painters and
engravers, of Flemish origin. The following table
shows their genealogy, and relation with the Bou-
zonr.ets, who also called themselves Stella:
124

Jean Stella

1625-|-1001,

Francois Stella

1565-pl005.

Jacques
1690—1657.

Frantois
1603- 1C47.

MadeUine Stella
Married to Etienne Bo'azoilEet

Antolne
1637—1682.

ADtoinetto
1641-1C70.

aaudin.-
1637—1697.

Francoise
1C3S— ID91.

STELLA, Antoine. See Bodzonnet.

STELLA, Antoinette. See Bouzonnet.

STELLA, Claudine. See Bodzonett.

STELLA, Franqois, the elder, painter, son of
Jean Stella, was born at Mechlin in l-CfiS. In 1578
he accompanied a Jesuit friend to Koine, and there
studied painting. On his return northwards he
stopped at Lyons, and there married the daughter
of a notary. He painted a large number of religious
pictures in that city, among others a ' Descent from
the Cross' for the C^lestins, and an ' Entombment'
for the church of St. Jean. He died at Lyons in
1605.

STELLA, FRANgois, younger brother of Jacques
Stella, born at Lyons in 1601, was instructed by
his brother, whom he accompanied to Italy. He
painted history, but never arrived at much emi-
nence, and was very inferior to Jacques. There
are some pictures by him in Paris churches, among
them an altar-piece, representing the dead Christ
with the Virgin Mary and St. John, at Les Augustins.
He died in Paris in 1661.

STELLA, Fbanqoise. See Bouzonnet.

STELLA, Jacques, an eminent French painter,
born at Lyons in 1596, was the son of Franjois
Stella. His father taught him the rudiments of
design, but he was left an orphan when only nine
years old. He had, however, at that early age,
made such progress, that he continued his studies
without another master. When he had reached
his twentieth year he travelled in Italy, and passing
through Florence, on his way to Rome, was em-
ployed by Cosmo de' Medici to assist in the pre-
parations for the marriage of his son Ferdinand.
He painted several pictures for the Grand Duke,
who assigned him apartments in his palace, with
a pension equal to that of Callot, who was at that
time in the same service. After a residence of seven
years at Florence, he proceeded to Rome in 1623.
There he studied in tlie society of Nicholasi Pousain,
with whom he contracted an intimate acquaintance.
Stella resided eleven years at Rome. In 1634
he returned to France, where his talents recom-
mended him to Richelieu, by whose favour he was
appointed painter to the king, with a pension, and
was presented with the order of St. Michael. His
principal works in Paris are a ' Baptism of Christ,'
in the church of St. Germain-le-Vieus ; an 'Annun-
ciation,' in the chapel of the Nuns of tlie Assump-
tion ; and a ' Christ with the Woman of Samaria,'
at the Carmelites. Stella was more successful in
easel pictures than in large works. His composi-
tion is graceful, and his design correct ; but his
\\.'orks as a whole are cold and lifeless. He died in
Paris in 1657. The Louvre possesses two of his
pictures, an ' Assumption of the Virgin,' on ala-
baster, and a ' Minerva and the Muses.' Stella left
some etchings, among them the following:
The Descent from the Cross.
The Ceremony of Homage to the Grand Duke of

1 uscauy on St. John's Day. 1621.
A Madonna.
St. George.
Children dancing.

A great number of his decorative designs have

PAINTERS AND ENGRAVERS.

been engraved by Edelinck, Claudine Bouzonnet
(called Stella), the Poillys, Mellan, Paul Bosse, and

others.

STELLA, Jkan, painter, the first of the family,
was born at Antwerp in 1525. Nothing is known
of his works. He died in 1601.

STELZER, JoHANN Jakob, a German engraver,
who flourished about the year 1720. He engraved
some plates for the collection of prints from the
antique marbles in the Dresden gallery, which was
published in 1733.

STEIIPSIUS. See Sempelius.

STENBOCK, Magnus Graf von. a Swedish field-
marshal, born at Stockholm in 1764. He painted
BOme good portraits, and executed mechanical art
work. He died at Copenhagen in 1717.

STENDARDO. See Bloemen, Pieter van.

STENGLIN, .JoHANN. engraver, bom at Augs-
burg in 1715, studied under Bodenehr, and en-
graved after Dinglinger, Grooth, Haid, Klein, and
De Meytens. In 1743 he received a summons to St.
Petersburg, and engraved portraits of Russian
Czars and members of the Royal Family. He died
at St. Petersburg in 1770.

STENNETT, William, amateur, was a merchant
at Boston, in Lincolnshire, who practised, under
the pseudonym of ' Delineator,' as an antiquarian
draughtsman in the first part of the 18th century.
His chief productions were drawings of Lincoln-
shire churches, some of which were engraved, the
best known being those of Boston and Walpole
churches. He died poor at Boston about 1762.

STEXREE, (or Steenree,) by some called
WiLLEM, by others Georq, was a nephew of Cor-
nelis Poelemburg, by whom he was instructed, and
whose manner he followed. His birth is placed at
Utrecht in 1600, and his death in 1648, but on
uncertain authority.

STENT, Peter, resided in London, and carried
on a considerable business as a priutseller from
1640 to 1662. It is believed that lie occasionally
engraved. A portrait of Andrew Willet, with sis
Latin verses, and marked with the initials P. S.,
is generally attributed to him.

STEI'HAN, (Stephanos, or Stevens,) Jo-
hannes, called Calcar, from his birth-place in the
Duchy of Cleves, was bom in 1449. He worked
for a time at Dordrecht, and in 153G went to Venice,
and became a pupil of Titian. He imitated his
master with much success, and painted portraits
that have been mistaken for works of Vecelli.
Later he also imitated Raphael. He spent the
greater part of his life in Italy, and at Naples
became acquainted with Vasari. who speaks of him
in terms of higli praise, and states that he made
the designs for the ' De humani corporis fabrica ' of
Veaalius. It is said that he also drew the por-
traits in the early editions of Vasari. He died at
Naples about 1546. The following portraits are
ascribed to him ;

Berlin. Museum. Portrait of a Young Man.

Paris. Louvre. Ditto.

Vienna. Gallery. Portrait of a Mau.

STEPHAN, Meister. See Lochser.

STEPHANI. See Stevens, Pietek.

STEPHANOFF, Francis Philip, was bom in
London in 1788. He was the son of Fileter Ste-
phanofE, and painted popular pictures in oils and
water-colours, such as 'The Poor Relation,' 'Re-
conciliation,' ' The Trial of Algernon Sidney.' He
also made the drawings for Pyne's ' Royal Resid-

ences,' and a fine series of costume portriits for
'Garter's' -work on the coronation of George IV.
This series is now in the South Kensington Museum.
Another excellent series was devoted to the 'Field
of the Cloth of Gold.' His illustrations are to be
found in a great many other books published in
the first half of the last century. He died at
West Hannain, in Gloucestershire, in 1860.

STEPHANOFF, James. This man, who was
the brother of Francis StephanoflE, was bom in
London about 1788. He was trained at the Royal
Academy Schools, but did not get on well there,
and soon left. He was one of the founders of
the Sketching Society, and a member of the Old
Water-Colour Society. His best work represented
ceremonial scenes, such as the interior of the House
of Commons, the reception of the Queen in London,
or the Coronation. He was employed by the
Society of Antiquaries to make water-colour draw-
ings of church embroidery, and lie illustrated three
or lour books on ceremonies. He died at Bristol
in 1874.

STEPHANOFF, N Fileter, a Russian

painter, who settled in London in the second half
of the 18th century. He exhibited at the Royal Aca-
demy in 1778-81. He was by profession a portrait
painter, but in this country was chiefly employed on
decorations for ceilings, and scenery for a circus
in St. George's Fields. He committed suicide-
some time before 1790. His wife, Gertrude Ste-
PHANOFF, was a flower-}'ainter and teacher uf
drawing. -She exhibited at the Academy in 1783
and 1805, and died at Brompton in 1806. Her
daughter, M. G. Stephanoff, followed the same
professions.

STEPHENSON, James, engraver in line and
mezzotint, was born on Nov. 20, 1828, at Man-
chester. He was a pupil of Findon, and after
living at Manchester, came to London in 1847. In
1856 and 1858 he exhibited at the Royal Academy
engravings after drawings by J. Faed, and con-
tinued to exhibit there many of his best works,-
among them being: 'My ain Fireside,' after T. Faed
(1861) ; ' Tennyson,' after G. F. Watts (1862) ;
the ' Prince of Wales,' after Sir J. W. Gordon
(1864); ' Ophelia," after Sir J. B. Milhiis (18C6) ;
'Osborne,' after Sir E. Landseer (1872); 'The
Great Day of His Wrath,' 'The Last Judgment,'
and 'The Plains of Heaven,' all after J. Martin
(1873). In 1870 he exhibited a crayon drawing,
' A Midnight Study,' and in 1884 an original etch-
ing, 'The Challenge.' Among his otlier well-
known works are "The HiKhland Whisky-Still*
and the 'Taming of the Shrew,' after Landseer.
Stephenson was a skilful and delicate engraver,
and excelled not only in his larger works, but in his
small engravings for ' Jennings' Landscape Annual,'
and similar publications, with illustrations after
Stothard, Turner, Collins, D. Roberts, and others.
He died on May 30, 1886. M. H.

STERN, Ignaz, (called Stella,) painter, was
bom at Ingolstadt, Bavaria, about the year 1698.
He went early in his life to Bologna, where he
entered the school of Carlo Cignani. He painted
for churches in Lombardy, and resided several
years at Rome, where he was much employed
both for public buildings and private collections.
In the Basilica of St. John Lateran, there is an
'Assumption' by him; he also (tainted some
frescoes in the sacristy of S. Paolino. He also
painted concerts, conversations, and bambocciate.
He died at Rome in 1746.

125

A BIOGRAPHICAL DICTIONARY OF

STETTLER, Wiluelm, was a native of Beine,
and a scholar of Konrad Meyer at Zurich and of
Joseph Werner at Paris. He accompanied the
archaeologist Charles Patin in his travels through
Holland and Italy, and designed most of the plates
in his publications on medals and antiquities.
Stettler died in 1708.

STEUBEN, Karl, painter, was born at Bauer-
bach, near Baden, in 1788. His father was an
oiEcer in the Russian army, and he received his
first education at the Academy of St. Petersburg,
and then went to Paris, where he studied under
Gerard, Robert Lefevre, and Prud'hon. In 1812 he
exhibited for the first time. He soon made his
mark, and was employed by the French Government
and decorated with the cross of the Legion of
Honour. Late in life he visited Russia, and painted
seven scenes from the life of Christ for St. Isaac's
cathedral. He died in Paris in 1856. Works :

Amieus.

Museum. Peter the Great in a storm on

Lake Ladoga. 1812.

Compiegne

Palace. Mercury and Argus, 1822.

LiUe.

Museum. Jeanne La FoUe.

Nantes.

„ Esmeralda.

Paris. St

Germain des } St. Germain giving alms.

Prh. i 1817.

Strasburg.

Cathedral. The Assumption.

Valencieimes. Museum. Peter the Great saved by his

mother from the Strelitz.

1827.

Versailles.

Gallery. Battle of Ivry.

„ Battle of Poitiers.

„ Many portraits.

Steuben's wife, ELfioNOBK, practised portrait paint-
ing in Paris.

STEUDTNER, Mark Christoph, born at Augs-
burg in 1698, engraved the ' Loves of the Gods,'
and many other subjects on copper and wood, and
in mezzotint. He was also much employed on
designs for goldsmiths, in conjunction with his
brother Esajas. He died in 1736.

STEVAERTS, (Staevaerts, Stevers, Stevens,)
Anthonie Palamedesz, painter, was the son of
Palamedes Stevaerts, a gem-engraver of Delft, and
was born in that city in 1600. He painted por-
traits and conversations, and was particularly
successful in the rendering of groups of small
figures in interiors, at meals or musical entertain-
ments. He frequently painted figures in the archi-
tectural pieces of his friend Dirk van Deelen. He
was admitted into the Guild of S. Luke in 1621,
and later filled the important ofiice of Deau. He
died in 1673. Works by him :

Berhn. Gallery. Portrait of a Young Girl.

„ „ A Party at Table m a Park

„ ., Portrait of a Boy.

Brussels. Gallery. Portrait of a Man.

„ „ The Musical Party.

Copenhagen. Gallery. Soldiers Playing Cards in s

Guard-Room.
Frankfort. StaM ( a Merry Party.

Institute. ) J J

Hague. Museum. Portrait of an Officer.

Petersburg. Hermitage. An Interior, ladies and gentle-
men singing.
Vienna. Liechenstein 1 Guard-Room Interior, two pic-

GaXlery. J tures.
The Concert. (Belonging (1885) to the Domager Madamt
de Jonge, at the Hague.)

STEVAERTS, (Staevaerts, Stevbrs, Stevens,)
Palamedes Palaiiedesz, painter, was the brother
of Anthonie Palamedesz. It is said that his father,
having been summoned to the court of James I. of
England, remained for some time in London, and

126

that during this sojourn Palamedes was bom, in
1607. On the returu of the family to Delft he
worked for a time in his brother Anthonie's studio,
and also studied the works of Esaias van der Velde,
devoting himself finally almost exclusively to the
representation of battles, skirmishes, and hand-to-
haud encounters in the manner which Esaias had
brought into fashion. These he treated with extra-
ordinary animation. He became a member of the
Guild of S. Luke in 1627. He was deformed, and
his early death in 1638, at the age of thirty,
accounts for the rarity of his works.

Berlin. Gallery. A Skirmish between Swedes

and Imperialists.
Dresden. Gallery. Cavalry Combat.

„ „ A Cavalier with a Staff.

Munich. Pinakothek. Cavalry attacking Musketeers

and Pikemen.
„ „ A Cavalry Fight.

Vienna. Gallery. A Cavalry Charge.

„ Liechtenstein Gal. A Skirmish of Cavalry.

STEVENS, Alfred (1817, 1818 or 1820 —
1675), sculptor, metal designer, and painter, burn
at Blandford, Dorset, the son of a painter and
house-decorator. Entering his father's Dusiness, he
early gave evidence of artistic originality. He
received no academic training, but was fortunate
when sixteen years of age in attracting tlie notice
of the Hon. and Rev. Samuel Best, who advanced
him £60 for a visit to Italy. Here he remained
for nine years (1833 — 1842), first copying Aretino
Spinello's frescoes of the Life of the Virgin at
Florence, those of Giotto and Andrea del Sarto at
Naples, and makiug sketches at Pompeii. In 1835
he journeyed to Rome, paj'ing his way by the use of
his pencil and brush. 1839 found him at Venice,
where he made admirable copies of Titian, which
have not infrequently been mistaken for originals.
In 1841-2 he was back at Rome, where for a short
time he did journeyman's work for Thorwaldsen,
devoting his spare time to a fruitful and enthusi-
astic study of Michelangelo. All these years he
had been deliberately aiming at the development
of his powers along the lines of the Italian Renais-
sance, practising eclecticism in its highest sense,
and religiously setting himself to discover the
proper inter-relationship between the plastic and
graphic arts. He was determined, if possible, that
his work should be the highest expression of the
Latin tradition. To this end he repudiated all
temptation to specialize, allowing his sympathies,
as Sir W. Armstrong has put it, " to expand over
all forms of art." By this rigid self-control he
achieved the harmony and rhythm which came
to be the dominant notes of his work. Doubtless
this militated against his immediate popularity,
but it has given him a reputation among artists
which will last so long as his masterpieces hold
together. To arrive at Stevens's almost unique
([uality his work must be regarded in the mass.
In detail he was as good as may be, but it
is in coherence that his true greatness lies.
Stevens founded no school. Rather was he the
belated and perfect blossom of an almost dead
tree. To use another of Sir W. Armstrong's
expressive phrases, by the time he was back in
England " he had made the aesthetic language of
the Renaissance his mother tongue." Landing in
1842, he was so absolutely penniless that it was
only with borrowed money that he could return to
Blandford, where he spent the next two years.
In 1845 he obtained a professorship at the School

PAINTERS AND ENGRAVERS.

of Design, Somerset House, a post which he held

until 1847, designing amongst other things — such
was his unprejudiced sympathy with all forms of
upplied art — a railway carriage for the King of
Denmark. In 1849 he made designs, unfortun-
ately never carried out, for doors to the building
in Jermyn Street, which then housed the Museum
of Economic Geology and the School of Mines,
but is now occujiied by the Geological Survey and
JIuseum. In 1850 he became chief designer to
Messrs. Hoole, Robson and Hoole, bronze and
metal-workers, of the Green Lane Works, Sheffield,
who at the Great Exhibition (1851) attracted con-
siderable attention by exhibiting stoves, grates,
firedogs, decorative panels, and what not, manufac-
tured after Stevens's designs. These marked a
departure in English metal-work of which the end
is not yet. Looking at the dry-as-dust catalogue
half-a-century later, it is hard to grasp the fact that
these unfathered articles of commerce owed their
origin to as great a hand and brain as ever has
been, certainly in this country, devoted to the art
of sculpture. In 1852 Stevens returned to London
and designed various decorations for the precincts
of the British Museum, of which the lions sejeanta
are now preserved within the building. In 1856
he came more prominently before the public in
connection with the much-discussed Wellington
memorial, which at last occupies in St. Paul's
Cathedral the position for which the artist intended
it. It is by this masterpiece that he stands to be
judged by posterity. It proved at once the crown-
ing triumph of his art and the crowning tragedy
of his life. Even the shortest summary of the
half-splendid, half-sordid story is here impossible.
Indeed " finis " is not yet written. The contest
still rages between those in authority who have no
special artistic training and those who have special
knowledge and claim to speak for the nation. A
great responsibility rests upon all concerned to see
that the noblest piece of architectonic sculpture in
the country shall be subjected to no further in-
dignity. Reference on one side and the other
should be made to the 'Nineteenth Century 'for May
1892, the ' Magazine of Art' for March and October
190a, the 'Times'of January 29, 1903, the 'Saturday
Review ' of the same date, the ' Architectural Re-
view ' for March and August 1903, and other con-
temporary publications. In 1876 " the badgered
artist's thread of life," to quote the ' Magazine of
Art,' "snapped under the humiliation and the
strain," his death occurring at his house in Eton
Road, which it had been his intention to turn
into an Italian palace, loggia, courtyard, and aU
complete.

Although Stevens's name will go down to pos-
terity mainly as a sculptor, his original work in oils
should not be overlooked. Amongst the most
notable of his paintings may be mentioned the
portraits of Mr. Leonard CoUmann in South Ken-
sington Museum, of Mrs. Collmann in the Tute
Gallery, and of Mr. Morris Moore, exhibited at
Burlington House in 1901. No work of his was
accepted by the Royal Academy during his life-
time, but the year following his death (1876) two
pieces of his sculpture were exhibited, and in 1890,
at the instigation of Lord (then Sir F.) Leighton, a
room was set apart for liis drawings and models at
the Winter Exhibition. Some of his finest work is
to be found in Dorchester House, Park Lane,
whilst at South Kensington the designs for the
Wellington Monument are open to the inspection

of all, together with a noble collection of life
studies in red chalk. There are two valuable
monographs on Stevens, a small volume by Sir
Walter Armstrong, published by ' L'Art' in 1881,
and two large folios by Mr. H. Stannus, published
by the Autotype Company in 1891. G. S. L.

STEVENS, Anthonis, painter, a native of
Mechlin, flourished in the second part of the 16th
century, and was the head of a numerous family
of artists. For his eldest son, see Stevens, Pieter.
His daughter, Joanna, married a painter, Maurice
MOEEELSE, and had a son Maokice, who was also a
painter. His younger son, Jakob Stevens the
elder, flourished at Mechlin at the beginning of the
17th century, and settled at Antwerp, but later
practised again at Mechlin, where he married in
1614. He died before 1630, leaving, among other
children, two sons, Jan and Jakob (q. v.).

STEVENS, D., an English portrait painter of the
18th century. He painted a portrait of George I.,
which was engraved by J. Faber.

STEVENS, Francis, water-colour painter, born
in 1781. He appears to have been a pupil of P.
S. Munn, and his name first appears at the Royal
Academy in 1804. Joining the Water-Colour
Society in 1806, his works were exhibited there
for a few years, and he assisted in forming the
Sketching Society. He then seems to have mi-
grated to Norfolk, as in 1810 he belonged to the
Norwich Society of Artists. His latter years were
spent in Exeter, where he died suddenly from
apoplexy in 1822 or 1823. There is a volume of
etchings of English cottages and farm-houses,
published by liim in 1815. The following are two
specimens of his work with the brush :

^mlT'^ ^"'"' ^""'' } I"is""gl^ Cleeve. 1820.

& Kensington.

A Devonshire Cottage. 1806.

STEVENS, Jakob, the younger, painter, the
eon of Jakob Stevens, was born at Mechlin in 1593.
He was his father's pupil, practised in his native
town, and married there in 1620. Having lost his
first wife by the plague, he married his pupil,
Agnes Bisschops, in 1626. He died in 1662.

STEVENS, Jan, called Db Cdypere, a Flemish
painter of the 14th century. Details of his life
and works are wanting. The town registers of
Antwerp record that he was practising in that city
in 1378. His father, Andries Stevens, also worked
as a painter at Antwerp.

STEVENS, Jan, painter, the son of Jakob the
elder, was born at Mechlin in 1595. He was a
member of the Guild of S. Luke, practising in his
native town and at Antwerp. He died about 1627.

STEVENS, Jan or John, a Dutch landscape
painter, settled in England in the early part of
the 18th century. His works were chiefly small pic-
tures in the manner of Van Diest ; many are to
be found in old English houses over doors and
chimney-pieces. He died in London in 1722.

STEVENS, Johann, (or Stephanus,) a German
engraver, who flourished at Strasburg about the
year 1585. His plates are frequently little more
than outlines, but they are from his own designs,
and prove him to have been a man of some genius.
He generally marked them with the initials I. and
S. and the date.

STEVENS, John, a Scotch subject and portrait
painter, bom at Ayr about 1793. He studied in
the schools of the Royal Academy, where he
obtained two silver medals iu 1818. After prao-

127

A BIOGRAPHICAL DICTIONABY 0?

tising portraiture for a time at Ayr, he went to
Italy, where he spent the chief part of his artistic
career. He was afoundationmember of the Scottish
Academy. Travelhng in France, he met with
a railway accident, which eventually brought
about his death at Edinburgh in 1>^68. One of
his portraits is in the National Portrait Gallery,
London.

STEVENS, John, an English engraver of the
18th century, who practised in London, and en-
graved a series of views of English scenery in
conjunction with C. Grignon.

STEVENS, Joseph E., painter, younger (?) brother
of Alfred Stevens, was born in 1819 at Brussels.
Never very robust in health, and of retiring dis-
position, he did not become well known to the
general public, but as an animal painter he holds
very high rank. He was self-taught, and at an
early age went to pursue his art sti:die,s in Paris,
returning to Brussels in 1844. At Paris and at the
Brussels Salon he at once won notice by his pictures
of animals, particularly of dogs, wliich he painteil
■with intimate sympathj' and skill. His exhibits
at the Paris Salon from 1847 to 1870 estaWished
his reputation. Among his best pictures may be
mentioned : 'A Dog carrying his Master's Dinner'
(1847); 'Tantalus' (1850); 'A Remembrance of
Brussels Streets ' (1852; in the Ruuen Museum);
'Flemish Bull pursued by a Dog' (1853); 'The
Dowager's Dog' (1857); 'A poor Beast' (1859);
' The Chimney Corner ' and ' Dog mourning his
Master' (1861). An exhibition of thirty of his best
works was held at the Maison d'Art in Brussels
in 1897-98. In the Royal Gallery of Brussels there
are five works by him : ' Brusstls in the Morning,'
'Scene in the Dog Slarket, Paris,' 'The Forge,'
' After Work ' and another ; and in the Antwerp
Gallery hangs his ' Dog with the Turtle.' Stevens
won second-class medals at the Salons of 1852, 1855.
1857, and 1861, became a Chevalier of the Legi^'U
of Honour in 1866, and was made an Officer of the
Order of Leopold in 1863. He was well versed in
the theory, practice, and history cf painting, and
won some distinction as an art critic. He died at
Brussels on Aug. 3, 1892. Neither Alfred nor
Joseph Stevens were quite certain in which years
they were born. .Joseph signed his pictures in
many diffeient ways. -M. H.

STEVENS, Palamedes. See Stevaerts.

STEVENS, (or Steevens,) Pieteb, called Ste-
PHANI, a painter, born at Mechlin in 1540, was the
eldest son of Anthonis Stevens of Mechlin. He
settled at Prague about 1590, and was appointed
painter to the Emperor Rudolph II. In 1600 he
18 said to have returned to his native town, and to
have painted four landscapes, which Gillis Sadeler
engraved in 1620, under the name of 'The Four
Seasons.' He was the uncle of Maurice Moreelse
the younger, who studied under him at Prague.
Stevens died at Prague after 1620. In the Vienna
Gallery there is a ' Woody Landscape with a Stag
and Hounds ' by him, and a ' Fight with the
Amalekites ' j two small landscapes in the Bruns-
wick Gallery are also attributed to him. It has
been stated that several German painters called
Stevens or Stephani, (a name adopted by Pieter
Stevens at Prague,) were offshoots of his family.
The following artists are among his known and
supposed descendants :

Pieter Stevens the younger, his son, painter
and engraver, practised at Prague. Anthonis
Stevens the younger, called Stephani, his grandson,

128

painter, settled at Prague in 1644, and died there in
1672. Anthonis Stevens was also known asStevens
of Steinf els, and had a son a frestio-painter, who died
at the beginning of the 18th century. One Stein-
FELS or Stevens, who worked in 1695 — 1698 at the
convent of Waldsassen, in Bavaria, was probably
of the family, as also a certain Paul Stevens, who
practised at Prague in 1674.

STEVENS, (or Stievens,) Richard, a Dutch
painter, sculptor, and medallist, who came to
England in the reign of Elizabeth, and designed
and executed the monument to Radcliffe, Earl of
Sussex, in Boreham Church, Suffolk. The Lumley
family possesses some portraits by him, notably one
of John, Lord Lumley, 1590, painted in the manner
of Holbein. The curious portraits of Queen Eliza-
beth, in a gown embroidered with sea-monsters,
and of Mary Queen of Scots, both at Hardwicke,
have been ascribed to him. His reputation in
England rests chiefly on his achievements as a
medallist.

STEVENSON, Thomas, an English landscape
painter, and pupil of Aggas, practised towards the
end of the 17th century. He m.ade the designs for
the Jubilee pageants of the Goldsmiths' Company,
in the mayoralty of Sir Robert Vyner. He also
painted portraits, two of which were engraved,

STEVER, Gdstav Curt, historical and genre
painter, was bom at Riga in 1823. and went in 1847
to the Berlin Academy, whence he was summoned
in 1850 to Stockholm, where he painted portraits
for the Court, and for Upsala University. In 1854 he
went to Paris, and studied in the school of Couture.
His chief works are: 'The Death of Gottschulk,
the Vandal King,' ' Abishag and King David,' ' The
Transfiguration,' 'The Visitation,' '"The Last Sup-
per,' cartoons of the Four Evangelists for the
windows of the Schroder Mausoleum in Hamburg,
and cartoons for the windows of S. Paul's Church in
Schwerin. From 1859 to 1865 he worked in Ham-
burg, but died at Diisseldorf in 1877.

STEVERS. See Stevaerts.

STEWARDSON, Thomas, was born at Kendal in
1781. He went to London, and became a pupil of
Romney. He painted portraits with considerable
success, and was appointed to the household of
Queen Caroline. His portrait of Grote is in the
National Portrait Gallery. He died in London in
1859.

STEWART, Anthont, born at Crieff, Perthshire,
in 1773, was placed under Alexander Nasmyth in
Edinburgh to study landscape. He made many
sketches of Scotch scenery, but at an early period
took to miniature, which, after some practice in
Scotland, he adopted as his profession, and estab-
lished himself in London. He painted the Princess
Charlotte, and the first miniature ever done of the
Princess Victoria. In the last fifteen years of his
life he devoted himself entirely to painting children.
He died in London in 1846.

STEWART, Gilbert. See Stuabt.

STEWART, James, an English portrait painter,
who practised in the middle and latter half of the
18th century. He was appointed Sergeant Painter
to George III. in 1764, and worked for Boydell.
■There is a portrait of G. F. Cooke by him at the
Garrick Club.

STEWART, James, painter and engraver, was
born at Edinburgh in 1791. He studied under
Robert Scott and John Burnet, and at the Trustee's
Academy, under Graham. His first plate was
•Tartar Brigands dividing their Spoil,' after Allan,

PAINTERS AND ENGRAVERS.

on which followed ' The Murder of Archbishop
Sharp,' and 'The Abdication of Mary Stuart,'
after the same. At this time Stewart was teach-
ing in Edinburgh. In 1830 he went to London,
where he engraved Wilkie's 'Gentle Shepherd,'
' The Pedlar,' and ' The Penny Wedding.' In 183.S
he emigrated and went to Algoa Bay. When
the Caffre insurrection broke out his farm was de-
stroyed, and he and l:is family had to fly to Somer-
set. He then fell back upon art, and by painting
portraits and teaching he was enabled to buy
another farm, on which he resided for many years.
He died in the colony in 1863.

STEYAERT, Anthonie, painter, born at Bruges
in 1765. He studied at the Academy of his native
town, and afterwards settled at Ghent, where he
became a Professor at the Academy, and died in
1863. In the church of S. Nicholas at Ghent
there is a ' S. Anthony ' by him.

STIELER. Joseph Karl, was born at Mayence
in 1781. After working for a time at miniature
paintingihe studied oil underFasel atWurzburg, and
then went to study under Fiiger, at Vienna. In

1805 he was painting in Poland, whence he pro-
ceeded to Paris to work under Gerard. Then he
painted a ' S. Charles ' for the Grand Duke of
Frankfort, in which city he was in 1808. Between

1806 and 1816 he visited Frankfort, Milan, Rome,
Munich, and Vienna. In 1820 he became painter
to the Austrian court. Among others he painted
portraits of Goethe, Tieck, Humboldt, Schelling,
and Beethoven. He died at Munich in 1858.

STIEMART, FRANgois, portrait painter, born at
Douai in 1680, was keeper of the French king's
pictures, and decorator to the Louvre. He was
received into the Academy in 1720, his reception
picture being a copy after Rigaud'a portrait of
Louis XIV. There is by him at Fontainebleau a
picture of 'Children Playing with a Dog.'

STIFTER, Adalbert, the poet, born at Ober-
plan, in Bohemia, in 1806, was also known as a
painter of miniatures. An example of his work on
copper is in Ilerr E. Fischer's collection in Vienna.
He died at Linz in 1868.

STILKE, Hermann, painter, born at Berlin in
1808, received his first instruction in the Academy
there. In 1821 he went to Munich, and then
accompanied Cornelius to Diisseldorf. After lie
had, with Stiirmer, painted a ' Last Judgment ' in
the Assize Court in Coblenz, he devoted himself to
the frescoes in the Court garden in Munich. From
Munich he went to Italy, and on his return in 1833
joined Sohadow at Dvisseldorf From 1842-46 he
was engaged on frescoes in the Rittersaal at Stol-
zenfels, and in 1850 was painting frescoes in the
Royal Schloss and in the new theatre, at Dessau.
Ue died at Berlin in 1860. His 'Children of
Edwiird IV. taken from their Mother' is in the
National Gallery, Berlin. His wife, Hermine, was a
clever designer of ornamental borders, initials, &c.,
for editions ' de luxe.' She died at Berlin in 1869.

STIMMER, JoHANN Christoph, perhaps the
younger brother of Tobins Stimmer, was bom at
SchafEhausen in 1552. Ho distinguished himself
as an eminent engraver on wood, and executed
cuts from the designs of Tobias. He marked his^
prints with a monogram composed of the letters

C. S. T. M., thus, ^J . But there is much dispute

as to what should be included in his ctuvre and
as to whether another monogram, in which C. S.
also occurs, should be ascribed to Stimmer or to
Vol. v. K

Ilhristoph Maurer. Besides the cuts in the Bible,
published at Basle in 1586, we have the following
prints by him :

A set of cuts for the New Testaraeut, printed at Stras-

burg in 1588.
A set of portraits of German savants ; pubHshed bj

Bernard Jobio, at Strasburg, in 15S7
A set of Emblems entitled Icones Affabrce, pubHshed by

B. Jobio at Strasburg, in 1591.